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SMITHSONIAN INSTITUTION
BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 45
CHIPPEWA MUSIC
BY
FRANCES DENSMORE
WASHINGTON
GOVERNMENT PRINTING OFFICE
1910
\\ \ 550
1
LETTER OF TRANSMITTAL
Smithsonian Institution,
Bureau of American Ethnology,
Washington, D. C, July 8, 1909.
Sir: For the greater part of the last two years Miss Frances Dens-
more has been engaged, under the auspices of this Bureau, in making
a study of Indian music. The results of her labors are embodied in
part in the paper which I have the honor to present herewith —
"Chippewa Music." I suggest the publication of this material as
Bulletin 45 of the Bureau's series.
Yours very respectfully,
(Signed) W. H. Holmes, Chief.
The Secretary of the Smithsonian Institution,
Washington, I). G.
FOREWORD
The purpose of the present work is to determine what constitutes
the music of the Chippewa Indians, and to record results in such a
manner that they will be available for reference. By means of the
phonograph it is possible to obtain an accurate record of Indian song,
which, though permanent, is of necessity limited in scope. To the
phonograph record and its analysis must therefore be added abundant
field notes, giving the results of observations of the musical per-
formances, together with descriptions of circumstances and surround-
ings. These three — phonograph record, analysis, and field notes —
are the necessary data of this branch of research.
The study of Indian music is more than the collection of Indian
songs. It includes a consideration of the vocal expression of a mental
concept; therefore incorrect repetitions of a song are as significant as
correct repetitions. Into their value enters a human element— the
personality of the singer. A person of musical gifts and proficiency
frequently presents a rendition of a song which contains embellish-
ments. These reveal the succession of tones especially pleasing to
the native singer. A person of little musical talent presents an im-
perfect rendition of a song, yet these imperfections are interesting.
They indicate which phase of the song was most difficult for him to
acquire and remember, the melody or the rhythm.
The analysis of the Chippewa songs from the land of pine trees, lakes,
and hills, in northern Minnesota, shows that in them the descending
interval of the minor third occurs with special prominence and fre-
quency; that the majority of the songs begin with a downward pro-
gression; and that the intervals of melodic progression are smaller
in the older songs. A classification of the songs as melodic and har-
monic reveals a possibility that the mental concept of the song has a
direct bearing on the form assumed by the melody. The songs
said to have been composed during dreams may be considered a spon-
taneous expression. The majority of these songs are harmonic in
structure. The songs whose character and use suggest that their
form may have been modified by long repetition are found to be prin-
cipally melodic in structure.
The value of any specific work lies in the relation of that work to
the problems presented by the subject as a whole. Beyond the study
of Indian music lies the larger field of research, the development of
music, to which the present work is tributary.
Red Wing, Minn.
v
CONTENTS
List of songs: Page
1 . Arranged in order of serial numbers xr
2. Arranged in order of catalogue numbers x v
General description of songs '
Introduction '
Intonation ^
Rhythm 5
Tone material 7
Structure 8
Tabulated analysis of 180 songs 8
Musical instruments [ 1
The Mide' 13
Beliefs 13
Songs ' 4
Use of medicine 20
Origin -1
Description of diagram representing the path of life 24
Initiation ceremony of the first degree 24
Ceremony for a dying chief 51
Songs for initiation into the sixth degree 55
Ceremonial songs - t>2
Series 1 — analysis - - - 62
Series 2— analysis 66
Series 3 — analysis = 70
Series 4- analysis 74
Songs to insure success - 82
Love-charm songs 88
Songs connected with the cure of the sick 92
Songs connected with rare medicines 96
Additional Mide' songs IOC
Tabulated analysis of 90 Mide/ songs L15
Social songs on White Earth and Leech Lake reservations 118
Ina'bundjigan □ nagurno'win (dream songs) 118
1 . Songs of the doctor ? 119
2. Song of the juggler 123
3. Dream songs afterward used as war songs or otherwise 126
Tabulated analysis 136
Miga'diwin'ina'gunto'win (war songs) 1 37
Tabulated analysis 146
Sa'gii'diwin'ina'gumo'win (love songs) 148
Tabulated analysis 155
Ata/diwin/ina/gumo/win (moccasin-game songs) 1 56
Tabulated analysis 159
Unclassified songs 161
Tabulated analysis 165
VII
VIII CONTENTS
Page
Social songs on Red Lake reservation 16G
Description of the dances, costumes, and celebration on July 4, 6, and 7,
1 908 166
The singers of Red Lake ^ 173
War songs 176
Tabulated analysis 180
I ;Ove songs 182
Tabulated analysis J85
Mo< casin-game songs 186
Tabulated analysis 191
\V< unan's-dance songs 192
Tabulated analysis 196
1 ' nclassified songs 198
Tabulated analysis 206
Index 211
ILLUSTRATIONS
Page
Plate 1. Musical instruments, and birch-bark rolls containing mnemonics of
songs 11
2. Musical instruments 11
3. Main'ans 25
4. Wa'wiekum'ig 25
5. MIde' lodge. 36
6. Main'ans as leader of a Mide' ceremony 37
7. The body of Nigan'ibines' 55
8. De'bwawen'diink 55
9. Ge'miwunac' - 95
10. Chippewa doctor treating the sick ' 120
11. Manido'gicigo'kwe 148
12. The Fourth of July at Red Lake agency 168
Figure 1. Mide' writing 16
2. Mide/ song writing - 17
3. Mide/ diagram of the path of life • 24
4. Diagram showing arrangement of Mide'wigan during initiation cere-
mony of first, degree. (Drawn by the elder Main'ans) 39
5. Diagram showing course followed by leader during initiation cere-
mony of first degree 40
6. Diagram showing course followed by candidate, escorted by leader,
in dance at Mlde/ initiation ceremony of first degree 42
7. Birch-bark rolls containing mnemonics of the songs connected with
rare medicines, and used by CKdeni'gun when singing these songs . LOO
8. Bones used by Chippewa doctor in treating the sick 120
IX
LIST OF SONGS
1. Arranged in Order of Serial Numbers
Mide' Som;s
Initiation Songs of the First and Second Degrees
Catalogue
no.a
1 . Song of the four bears 189
2. Song of the manido' 238
3. Dancing song 239
4 . Preparatory song 190
5 . " My pan of food " 240
6. "My pipe" 241
7 . Processional 54
8. Introductory song 55
9. Song of the za'gimag' 212
10. Escorting the candidate 237
11 . First initiation song 61
12. Second initiation song 62
13. Third initiation song 63
14. First song of the feast 65
15. Second song of the feast 66
Initiation Songs of the Sixth Degree
16. First song 122
17. Second song 123
18. Third song 124
19. Fourth song 125
20. Fifth song 126
21. Sixth song 127
22. Seventh song 128
23. Eighth song 1 129
24. Ninth song 130
Ceremonial Songs
Series 1
Catalogue
no.
.. 16
.. 17
.. 18
.. 19
.. 20
Page
63
64
64
64
65
Catalogue
Page
27
30
31
32
31
35
37
39
41
42
45
46
47
49
50
Page
65
65
66
66
66
footnote, p. 27.
XII
LIST OF SONGS
Catalogue
no.
. . 26
.. 27
. . 28
.. 29
Series 2
Serial
Catalogw
no.
. . 30
.. 31
. . 32
. . 33
Series 3
Series 4
61 . Initiation song 69
62. Initiation song 70
63. Initiation song 254
64. Initiation song 67
Songs to Insure Success
65. Hunting song (a) 56
66. Hunting song (6) 57
67. Hunting song (c) 58
68. Hunting song (d) 59
69. Hunting song (e) 60
70. Song for securing a good supply of maple sugar 64
71 . Love-charm song (a) 73
72. Love-charm song (b) (not transcribed) 74
73. Love-charm song (c) 75
74. Love-charm song (d) 76
75. Love-charm song 52
76. Love-charm song 53
Songs connected with the ( 'ure of the Sick
77 . Healing song 78
78. Healing song 79
79. Healing song 71
80. Healing song 14
Songs connected with Rare Medicines
SI . Song of the flying feather 191
82. Song of the man who succeeded 192
83. Song of a scalp dance 193
84. Song of good medicine 194
85. Song of the crab medicine-bag 195
86. Song of the fire-charm 197
87. Song of starvation 199
88. Song of the owl medicine 200
Page
69
69
70
70
97
98
99
100
102
103
104
105
LIST OF SONGS XIII
Additional M%de.' Songs
Serial
no.
Catalogue
Pagi
89. Song of the bear path 236 lOli
90. ''They are making me old " 248 107
91. "To the spirit land" 253 108
92. "I will sing" 255 L09
93. "I am walking" 256 110
94. "There are spirits " (not transcribed) 1 1 1 1
95. "They think me unworthy" (not transcribed) 2 111
96. "The water birds will alight" (not transcribed) 3 111
97. "The sky clears" (not transcribed) 4 112
98. "I walk in a circle" (not transcribed) 5 112
99. "Our dwelling is royal" (not transcribed) 6 113
100. "Vermilion, I sing of thee " (not transcribed) 7 11:'.
101. "There stands a man" (not transcribed) 8 113
102. "I stand" (not transcribed) 9 113
103. " I am named " (not transcribed) 10 114
104. "I am unable to harmonize my voice" (not transcribed) 11 114
105. "They are feasting with me " (not transcribed) 12 114
106. "The sound is fading away" (not transcribed) 13 115
107. "You are a spirit" (not transcribed) 15 115
Social Songs on White Earth and Leech Lake Reservations
Ina'btlndjlgan na'gumo'wtn (Dream Songs)
108. Doctor's song 244 121
109. "I go to the big bear's lodge" 245 121
110. "Going around the world " 246 122
111. The Song of Ce'degns' (Juggler's song) - . 213 125
112. Song of the trees 206 126
113. Song of the Thunders 207 If
114. "My voice is heard" - 208
115. " The approach of the storm" 209 129
116. " As the hawk soars " 210 130
117. "In the southern sky" - 211 132
118. " Manido' listens to me " : 212 132
119. Song of the crows 260 133
120. Song of the deserted warrior 259 134
121. "I am afraid of the owl " 261 135
Mliia'rHwWina'gtimo'irtn (War Songs)
122. (Nowords) ' 179 138
123. (Nowords) 182 138
124. (Nowords) 205 139
125. (Nowords) 215 139
126. Little Eagle's song 229 140
127. (Nowords) 230 141
128. Song of the loons 271 142
129. " I will start before noon " 276 143
130. Song of Cimau'ganic 277 143
131. "The shifting clouds" HI 14'5
132. Scalp dance 11° H6
128
XIV LIST OF SONGS
Sa'gii'diwln'ina'gfimo'win (Love Songs)
Serial Catalogue
no. no. Page
133. (No words) 98 148
134. (No words) 99 149
135. "My love has departed " 101 150
136. "Why should I be jealous?" 104 151
137. " I do not care for you any more " 106 152
138. "Donotweep" 107 152
139. "lie must be sorrowful" 110 153
140. "When I think of him" 262 154
141. (No words) 275 154
Ata'diwln'ina'g'&mo'wtn (Moccasin-game Songs)
142. (No words) 112 157
143. (No words) 181 158
144. "If lam beaten" 203 158
145. "I have rome after your stake" 224 159
Unclassified Songs
146. ( all to the dance 105 161
147 . "I am as brave as other men " 109 162
148. "My music reaches to the sky" 274 162
149. Lullaby 102 163
150. Farewell to the warriors 103 163
151. Song of thanks for a pony (a) 91 164
152. Song of thanks for a pony (b) : 92 164
153. Song of thanks for a pony (c) 93 165
Social Songs on Red Lake Reservation
TFar Songs
154. (Nowords, 131 176
155. "Inside the cave" 140 177
156. (Nowords) 172 177
157. (Nowords) 173 178
158. (No words) 1 78
146 178
179
159. Scalp song (no words)
160. Scalp song (no words) 147
161. Scalp song (no words) 167 179
162. "The sky replies" 166 180
Love Songs
163. (No words) 161 182
164. (No words) 155 182
165. "In her canoe" 157 183
166. " I am going away " 151 183
167. "Come, let us drink" 152 184
Moccasin-game Songs
168. (No words) I33 I86
169. (No words) 142 187
170. (No words) 144
171 . (No words) 148
172. (No words) 171
173. (No words)
ISS
188
174 188
LIST OF SONUS
Serial Catalogs
no. no-
174. (No words) » 150
175. "He gave us a double crack " 134
176. "I am standing till daylight" 143
Woman' s-dance Songs
177. "1 have been waiting" 132
178. "Come, dance'' 175
179. (No words) 135
180. (No words) 141
181. (No words) 153
182. (No words) 154
183. (No words) 159
184. (No words) 177
185. "Where are you ? " 86
Unclassified Songs
186. Song referring to an historical incident 139
187. Song of the begging dance 149
188. Song of the begging dance 170
189. Song of thanks for a gift 168
190. Song of thanks for a gift 169
191. Song of thanks for a pony 136
192. Friendly song (a) 160
193. Friendly song (b) 162
194. Friendly song (c) 163
195. Friendly song (d) 164
196. Song referring to a vision 138
197. Song of We'nabo'jo 272
198. Dream song— duplicate of no. 115 (209) 108
199. Song of thanks for a pony— duplicate of no. 152 (92) 137
200. Love song— duplicate of no. 138 (107) 145
2. Arranged in Order of Catalogue Numbers
Page
189
189
190
192
193
193
194
194
195
195
195
196
198
199
200
201
201
202
202
203
204
204
205
206
208
209
209
Cata-
logue
no.
Name of singer.
Description of song.
Title of song.
Serial
no.
Page
no.
Gegwe'djiwe'blnufi' . . .
do
do
MIde'
94
95
96
97
98
99
100
101
102
103
104
105
106
107
25
26
Ill
"They think me unworthy"
" The water birds will alight " —
111
do
111
do
112
do
.do .
112
Deda'bicae'
do
do
.do...
113
7
"Vermilion, I sing of thee"
113
8
do
do
do
.do
113
9
113
10
... .do
114
do
do
"I am unable to harmonize my
voice."
"They are feasting with me"
"The sound is fading away"
114
12
do
do
114
13
...do
.do
115
15
do
do
115
16
.. .do
63
17
do
do
64
LIST OF SONGS
Cata-
logue
no.
Name of singer.
Description of s^ng.
Title of song.
Serial
no.
Page
no.
L8
Na'jobi'tun
do
do
do
do
do
do
MIde'
27
28
29
30
31
32
33
;.
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
75
76
:
65
66
67
68
11
12
13
70
14
15
64
01
62
79
64
19
do
20
do
.
21
do
in
22
do
23
do
24
do
25
do
do
do
26
. do
do
.do
28
. ..do.
. .do
29
. .do.
.. ..do.
30
. .do.
.. ..do..
69
. .do
do...
69
32
do....
do...
70
33
...do....
do
70
34
. ..do
do
71
. ..do
do
71
36
do
do
72
37
.. ..do
do
72
38
do
do
do
73
39
73
40
do
do
do
74
41
do
74
do
.do
do
.do
76
do
do
do
70
.do
76
do
.do
76
do
do
.do
77
.do.
77
do
.do...
77
do
.do....
78
do
..do..
78
do
91
do
do
do
92
54
do
Processional
Introductory song
37
55
. .do
do
39
do
do
83
......do
do
do
.do...
84
5S
do
.do
Hunting song (d )
85
do
86
do
45
do
46
47
04
do
Song for securing a good supply
of maple sugar.
87
do
do.
49
do
.do
50
,
do
81
do
79
do
80
do
94
73
Na'waji'blgo'kwe
do
(«)
89
LIST OF SONGS
Name of singer.
Na'waji'bigo'kwe .
do
do
Mi'jakiya'clg
....do
....do
....do
Manido'giclgo'kwe.
....do
Mrs. English..
Mrs.Mee
....do
....do
Ki'tclmak'wa.
....do
....do
Ki'ose'wini'ni.
...do
....do
Maifi'ans
A'gwitu'wigi'cfg. .
Gi'cibiins'
De'bwawen'dunk.
...do
...do
.do
'wita'bints.
.do
.do
.do
Description of s
Mide' .
....do.
....do.
....do.
....do.
Woman's-dance song.
Unclassified (o)
....do. (6)
....do. (c)
Love song
....do •
.do.
Unclassified (Lullaby).
....do
Love song
Unclassified
Love song
....do
Dream song
Unclassified
Love song
Moccasin-game song.
War song
....do
Mfde'
....do
....do
Title of song.
(h
(c)
id)
Healing song
Uealingsong
•' Where are you? "
Song of thanks fur a pony
( No words) .
....do
....do
....do
....do
....do
....do
....do
War song
Woman's-dance song.
Moccasin-game song. .
....do
Woman's-dance song.
Unclassified
Duplicate.
Unclassified
....do
War song
Woman's-dance song.
Moccasin-game song. .
....do
.do.
Duplicate (Love song)
-do Scalp song
.do do
"My love has departed "
( No words)
Farewell to the warriors
" Why should I be jealous? "
Call to the dance
" I do not care for you any more "
" Do not weep"
Duplicate of no. 115 (catalogue no.
209).
"I am as brave as other men "...
"He must be sorrowful "
(No words)
"The shifting clouds "
Scalp dance
First song
Second song
Third song
Fourth song
Fifth song
Sixth song !
Seventh song
Eighth song
Ninth song
(No words')
"I have been waiting"
(No words)
" He gave us a double crack "...
(No words)
Song of thanks for a pony (no
words i.
Repetition of no. 115 (catalogue
no. 92).
Song referring to a vision
Song referring to an historical in-
cident.
"Inside the cave "
(No words)
....do
"I am standing till daylight":...
(No words)
Repetition of no. 138 (catalogue
no. 107).
(No words)
....do
155
180
169
176
170
200
12692°— Bull. 45—10-
LIST OF SONGS
Cata-
logue I Name of singer.
Gi'wita'bines
William Prentiss.
. ...do
Gage'binfs.
....do
...do
...do
...do
....do
John Mark.
Wabezic' . .
....do
....do
...do
...do
....do
..do..
....do
....do
Gi'nawigi'clg.
...do
...do
...do...
....do...
....do....
Aki'waizi'
....do....
Description of song.
Moccasin-game song
Song of the begging
dance.
Moccasin-game song
Love song
....do
Woman's-dance song.
do
Love song
do
Woman's-dance song.
Unclassified
Love song
Unclassified
do
do
War song
do
Unclassified
Main'ans.
O'deni'gu
....do....
Moccasin-game song. .
War song
...do
Moccasin-game song. .
Woman's-dance song.
...do
War song
...do
Moccasin-game song. .
War song
MIde'
....do
do
...do
...do
....do
do
do
do
'itle of song.
(No words).
...do
"I am going away "
' ' Come, let us drink "
(No words)
....do
...do
"In her canoe"
(No words)
Friendly song (a) (no words)
(No words)
Friendly song (6) (no words)
Friendly song (c) (no words)
Friendly song (d) (no words)
"The sky replies"
Scalp song
Song of thanks for a gift (no
words).
(No words)
Song of the begging dance (no
words).
(No words)
....do
...do
...do
"Come, dance"
(No words)
....do
....do
....do
.do.
do
Nita'miga'bo.
Ga'gandac'...
do
do
Moccasin-game song . .
War song
Dream song
do
do
do j
do
do
.do.
do
.do.. . .
do.
.do
do
do
Dream song (Jugglers
song).
War song
Moccasin-game song
Song of the four bears
Preparatory song
Song of the flying feather
Song of the man who succeeded .
Song of a scalp dance
Song of good medicine
Song of the crab medicine-bag.
Song of the fire-charm
Song of starvation
Song of the owl medicine
"If I am beaten"
(No words)
Song of the trees
Song of the thunders
"My voice is heard"
" The approach of the storm" . .
"As the hawk soars"
"In the southern sky"
"Manido'listens to me"
The song of Ce'deens'
(No words)
"I have come after vour stake "
LIST OK SOXOS
Cata-
logue
237
238
240
241
242
244
245
240
248 J
253
254
255
256
259
200
201
202
Name of singer.
Description of song.
Ga'gandac' War song
do do. . .
Maifi'iins
do
....do
....do
....do
....do
...do.
...do
...do
...do
...do
...do
....do
....do
...do
Henry Selkirk
do
....do
Ga'tcitcigi'clg
....do
.do
MIde'..
do.
do.
do.
it le of song.
do
do
Dream song
do
Little Eagle's song
(No words)
Song of the bear path
Escorting the candidate
Song of the manido'
Dancing song
" My pan of food"
" My pipe"
Song of the za'gimag'
Doctor's song
" I go to the big bear's lodge " .
do ' "Going around the world"
MIde' "They are making me old" . . .
do "To the spirit land"
do j Initiation song
do "I will sing"
do ' "I am walking"
Dream song ' Song of the deserted warrior...
do i Song of the crows
do j "lam afraid of the owl"
Love song | "When I think of him"
War song ; Song of the loons
Unclassified Song of We'nabo'jo
do | "My music reaches to the sky'
Love song i (No words)
do .. Warsong "I will start before noon"
do do SongofCImau'ganlc
Serial
no.
Mil
90
91 I
63
92
93
120
119
121
140
128
197
148
141
129
130
Page
no.
Special Signs Used in Transcriptions of Songs
(See pp. 5 and 6. I
+ placed above a note indicates that the tone is sung slightly less
than a semitone higher than the proper pitch.
— placed above a note indicates that the tone is sung slightly less
than a semitone lower than the proper pitch.
(• placed above a note indicates that the note is prolonged slight ly
beyond its proper time.
•) placed above a note indicates that the note is given less than its
proper time.
( m ) is used in melody outlines to indicate the pitch of a tone with-
out reference to its duration.
Meaningless syllables are italicized.
Where no words are given beneath the notes it is understood that
meaningless syllables were used, except in songs whose words were
sung too indistinctly for transcription, such instances being described
in the analysis.
CHIPPEWA MUSIC
By Frances Densmore
GENERAL DESCRIPTION OF SONGS
Introduction
The songs comprised in this paper were obtained during 1907,
1908, and 1909, from Chippewa Indians on the White Earth, Leech
Lake, and Red Lake reservations in Minnesota, a few songs being
also secured from a Chippewa living on the Bois Fort reservation in
Minnesota. The Chippewa Indians on the White Earth and Leech
Lake reservations may be said to represent the portion of the tribe
south of Lake Superior ; those on the Red Lake reservation are more
nearly connected with the portion of the tribe living north of Lake
Superior. Conditions on the White Earth and Leech Lake reserva-
tions are different from thdse at Red Lake, and the personality of the
singers presents a marked contrast. For these reasons the social
songs are considered in two groups. No Mlde/ songs were collected
at Red Lake.
Chippewa songs are not petrified specimens; they are alive with
the warm red blood of human nature. Music is one of the greatest
pleasures of the Chippewa. If an Indian visits another reservation
one of the first questions asked on his return is: " What new songs
did you learn?"
Every phase of Chippewa life is expressed in music. Many of the
songs are very old and are found on several reservations; others are
said to be the more recent compositions of certain men who com-
posed them "during a dream" or "upon awaking from a dream."
It is still customary for the Chippewa to celebrate an important
event by a song. On the Leech Lake reservation the writer secured
the song which the Indians composed and sang during the disturbance
known as the "Pillager outbreak," in 1898. The song relates to
the death of Major Wilkinson, an officer of the United States Army,
who was shot while leading the troops. The Indians honor his
12692°— Bull. 45—10 -1
2 BUREAU OF AMERICAN ETHNOLOGY I bull. 45
bravery and speak of him with respect. The words of the song
evidently refer to the grief of his fellow officers, and are as follows:
"One in authority passeth wailing. Thou, O chief, art by nature
also a man."
The Chippewa have no songs which are the exclusive property of
families or clans. A young man may learn his father's songs, for
example, by giving him the customary gift of tobacco, but he does
not inherit the right to sing such songs, nor does his father force him
to learn them.
The history of the Chippewa songs is well known to the singers,
and is further preserved by the Indian custom of prefacing a song
with a brief speech concerning it. On formal occasions the Chip-
pewa singer says: "My friends, I will now sing you the song of ,"
describing the subject of the song. At the close of the song he says:
"My friends, I have sung the song of ," repeating the title of the
song. In this way the facts concerning the song become strongly
associated with the melody in the minds of the people.
Chippewa singers often mention the locality from which a song
came — Gull lake, Madeline island, or La Pointe. If a song was
learned from the Sioux, it is so stated.
An interesting fact concerning Chippewa songs is that the melody
is evidently considered more important than the words. In a suc-
cession of several renditions of a song it is not unusual to find the
words occurring only once. The idea is the important thing, and
that is firmly connected with the melody in the minds of the Indians.
It is permissible and customary to compose new words for old tunes,
but,so far as thewriterhas observed, these are always similar in general
character to the words previously used. These observations do not,
of course, apply to the Mlde' songs, which are considered separately.
An instance of the changing of words in a song is furnished by
one of the love songs (no. 138; catalogue no. 107). As originally
recorded the words of this song were: "Do not weep, I am not going
to die." On another reservation the same song was found, the words
being: "Do not weep, I am not going away;" again: "Do not weep,
I am going away but I will return soon." Among a third group of
Indians the writer found the song changed again. A certain Indian
said that he had recently made some new words for the song. The
words referred to a certain incident which he related, their general
trend being: "Do not weep, I will take care of you." In all these
instances the underlying idea was the same and the general trend
of the melody was the same, though different singers gave slightly
different passing tones and embellishments. The various changes
thus introduced did not affect the identity of the song in the mind
of the Indians.
densmoiie] CHIPPEWA MUSIC 3
Indian songs are not recorded in a definite system of notation and
a standard of absolute exactness is lacking. For that reason it seems
desirable that study be concentrated on the melody-trend and the
principal rhythm of the song, which show no variation in renditions
by different singers. A classified analysis of these unvarying phases
may supply data bearing on the natural laws which govern musical
expression.
Indian music seems to belong to a period in which habit takes
the place of scale consciousness. Habit in the choice of musical
intervals is formed by following a line of least resistance or by a
definite act of the will; or may be the result of both, the voice at
first singing the intervals which it finds easiest and afterward
repeating those intervals voluntarily. It is in such ways as these
that the tone material comprising Indian songs is probably acquired.
The study of Indian music deals with a free tonal expression,
yet this music is recorded at present in the notation of a conven-
tional system. It is acknowledged that ordinary musical notation
does not, in all instances, represent accurately the tones sung.
According to Ellis,a "all these [five-tonedl scales are merely the
best representations in European notation of the sensations produced
by the scales on European listeners. They can not be received as cor-
rect representations »f the notes actually played." If a new and
complete notation were used in recording fractional tones it should
be used in connection with delicately adjusted instruments which
would determine those fractional tones with mathematical accuracy.
The present study is not an analysis of fractional tones, but of
melodic trend and general musical character; therefore the ordinary
musical notation is used, with the addition of a few signs in special
cases.
The songs are recorded on a phonograph provided with a specially
constructed recording horn and recorders. Care is taken in
selecting the singers and in explaining to them the nature of the
material desired, and effort is made to free them from constraint
or embarrassment, in order that, the recorded song may be free and
natural.
Before recording a song the name of the singer, the number of
the song, and the tone C of a pitch pipe are given into the record-
ing horn. These data serve to identify the cylinder record and also
to indicate the speed of the phonograph at the time the record is
made.
Before transcribing a song the speed of the phonograph is adjusted
so that the tone C as registered on the record shall correspond to
a In his translation of Hemholtz's The Sensations of Tone as the .Physiological Basis of Music, part 3,
chapter 14 (footnote, p. 261).
4 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
the tone C as given by the pitch pipe. Thus the pitch and the metric
unit of the song are identical in recording and reproducing — a con-
dition essential to accuracy of transcription.
Intonation
One of the characteristics of Chippewa singing observed during this
study is that a vibrato, or wavering tone, is especially pleasing to
the singers. This is difficult for them to acquire and is considered
a sign of musical proficiency. The vibrato may seem to indicate
an uncertain sense of tone, but the singer who uses it is ready to
approve the song when sung with correct intonation. He declares,
however, that this is not "good singing." A person unaccustomed to
Indian singing, even if he have a keen ear, will find difficulty in
recognizing a song when it is sung by a typical Indian singer of
the old school, yet the Indian is ready to admit that the points of
difference are entirely in the rendition.
A kernel of tone on true pitch is evidenced by the following experi-
ment : The phonograph record of an extremely harsh song was selected
and duplicated on an electric recording machine, producing a record
much softer in that much of the harshness was eliminated, and show-
ing a melody approaching accuracy of pitch. Another discordant song
was duplicated on a second phonograph, another record made from
this, and so on to the seventh record, which was so clear and
melodic as to be easily transcribed. Some of the by tones were lost
in each successive duplication, and what remained at last was t. he-
principal tone. In each instance this must have been present in the
first record, though so obscured as to be almost indistinguishable.
At present the only standard generally available for the meas-
urement of musical intervals is the tempered musical scale. This
is artificial, yet its points of difference from the natural scale are
intervals less frequently used in primitive music than those which
the two scales have in common. Chippewa singers have been found
who sang all the intervals correctly except the fourth and seventh.
In his Esthetics of Musical Art, Dr. Ferdinand Hand, of the Uni-
versities of Leipzig and Jena, makes the statement that the Swiss and
T3'rolese sing the fourth of the scale too high and the seventh too low
for our ears. He says also: "Every teacher of singing admits that
children have special difficulty in singing these intervals. This is
not because they are not in accordance with nature, but are the
products of acute reflection and are therefore to be found only where
the finer development of the intellect renders them possible."
The descending interval of the minor third occurs with frequency
in the Chippewa songs, regardless of the nature of the song. This
suggests that it may be an interval either especially pleasing or
densmore] CHIPPEWA MUSIC 5
especially easy for the voice, and not directly connected with the
concept of the song.
Accidentals are usually given with more firmness and accuracy
than diatonic tones. This may be attributed to one of two causes —
either these tones are recognized as deviations from some definite
standard, or they are individual tones impressed on the mind of
the singers more clearly than other tones, and are therefore given
more accurately. Of interest in this connection is the fact that
the phonograph record shows the octavo, fifth, and twelfth sung
accurately by men who give the other intervals with uncertain
pitch. This peculiarity is found in records made by Indians whose
environment is primitive and who rarely hear the white man's music.
The following system of signs has been adopted: If the singer gives
the principal intervals of the scale correctly, but makes deviation in
other intervals, these incorrect tones, if raised less than a semitone,
are marked + ; if lowered less than a semitone, they are marked — .
This tonal peculiarity has been tested in the following manner: Two
singers were asked to repeat songs recorded about seven months
before; about 20 songs were included in this test, which showed devia-
tion on the same tones in the second as in the first rendition.
Rhythm
The rhythm of a Chippewa song is as much a matter of composition
as the melody and often expresses the idea of the song. The term
"rhythm," in this connection, refers to the succession of measures
of irregular lengths, as well as to the subdivision of the measure.
The transcription of a song is divided into measures according to
the vocal accent. Since a secondary accent seldom occurs, the song
is usually divided into measures of two or three counts. In many
instances each of these counts is a metric unit and is so indicated by
the metronome mark at the opening of the song; in other instances
the entire measure constitutes the metric unit. In many songs
there is a recurring rhythmic unit composed of one to four or more
measures; in other songs there fs no recurring rhythmic unit and in
many songs of this class the entire melody constitutes a rhythmic
unit, complete and satisfactory in itself. Continued repetition of
such a song gives to the entire performance the effect of a homogeneous
whole.
In many cases a metronome test of the phonograph record shows
the drum to have the same uulse or metric unit as the melody. From
this fact one would expect to find that the pulse of drum and voice
coincide at certain points, but an analysis of phonograph records and
observation in the field tend to show that the drum and the voice
are independent expressions. This is indicated in the tabulated
6 BUREAU OP AMERICAN ETHNOLOGY [bill. 45
rhythmic analysis of the songs, and also in the analysis of individual
songs. The Chippewa seldom strikes a drum and sounds a tone
simultaneously. One phonograph record (no. 124; catalogue no.
205) shows a remarkable peculiarity. The metric units of voice and
drum are so nearly alike that the same metronome indication is used
for each. At the beginning of the record the drumbeat is slightly
behind the voice, but it gains gradually until for one or two measures
the drum and voice are together; the drum continues to gain, and
during the remainder of the record it is struck slightly before the
sounding of the corresponding tone by the voice. The record is
not sufficiently long to show whether, in a more extended perform-
ance, the drum would have slackened in speed until it again took its
place after the voice.
It is worthy of note that appreciable interruptions in regular
rhythms are accurately repeated. For instance, in certain songs
there occur tones prolonged less than one-half their value; these
are marked thus (• . It was found that if the singer sang the song
several times he prolonged the tones to exactly the same length in
each rendition. Other tones are similarly shortened and are marked
thus •). These also are found to be accurately repeated.
Thus far, observation indicates that the rhythm is the essential
part of the Chippewa song. The words of a song may be slightly
different in rendition, or the less important melody progressions may
vary, but a corresponding variation in rhythm has not been observed.
A song, when sung by different singers, shows an exact reproduction
of rhythm.
During many of the Chippewa war dances the drum is in even beats,
equally accented. The drum rhythm of the woman's dance consists
of an accented beat preceded by an unaccented beat; the drum rhythm
of the moccasin game is similar, but the unaccented beat in the for-
mer corresponds approximately to the third count in a triple measure,
while the unaccented beat in the latter corresponds in value to the
fourth count in a quadruple measure. Another distinction lies in
the manner of beginning tliese rhythms. In beginning the rhythm
of the woman's dance, the drummers give the unaccented beat with
a rebound of the stick, so that it seems to be connected with the
beat which precedes rather than with that which follows it. As soon
as the rhythm is well established, however, the unaccented beat
clearly connects itself with the succeeding beat. In the moccasin
game the rhythm is unmistakable from the start, the short beat being
closely connected with the longer one, which is emphatically accented.
These three rhythms, the war dance, the woman's dance, and the
moccasin game are the principal rhythms of the drum among the
Minnesota Chippewa.
DBNSMORE] chtppewa music 7
Tone Material
A wide range of tone material is shown by the songs under obser-
vation. Certain songs contain tones whose melodic sequence refers
definitely to a keynote or tonic. Other songs contain tones which
appear to belong to the system of tones commonly called major or
minor keys, but which are used in such melodic sequence that their
relation to a keynote or tonic is obscure. The border line between
these two classes of songs is not clearly marked. Because the rela-
tion of tones to a keynote is not apparent, one scarcely is justified in
saying that such relation does not exist, especially as the purpose of
the present work is not scale construction, nor scale analysis, but
recording, in the simplest and most evident manner, the musical
performances of the Chippewa. For this reason no attempt is made
to separate these two classes of songs. The distinction will be evi-
dent to those who follow closely the transcriptions and analyses.
In many instances the sharps and flats at the beginning of the staff
indicate that the tones upon those degrees are sharped or flatted,
but do not imply that the corresponding key is fully established. For
present purposes it is deemed sufficient to analyze the tone material
of the songs, with reference to the keynote implied by the beginning
and ending of the song and its general melodic trend.
The present system of classification, while carried out consist-
ently, must be recognized as broad in outline and somewhat tentative.
The principal change from ordinary terminology is in connection
with what are commonly known as the major and minor penta-
tonic scales. These two consist of the same tones, a major tonality
being secured by using as a keynote the lower tone of the group
of three tones, and a minor tonality being secured by using as a
keynote the upper tone of the group of two tones.
The subject of pentatonic scales is fully considered by Helmholtz,a
according to whom a scale lacking the second and sixth tones is the
second five-toned scale. This is the scale commonly known as the
minor pentatonic scale. According to the same author, a scale
lacking the fourth and seventh tones is the fourth five-toned scale.
This is the scale commonly known as the major pentatonic scale.
Following the system set forth by Helmholtz, the terms "second
five-toned scale" and "fourth five-toned scale" are used to indicate
what are commonly called minor and major pentatonic scales.
A somewhat less important change in terminology is the use of
the term "tonality" instead of the more common term "key;"
this is fully explained in connection with the first tabulated analysis.
a In his work The Sensations of Tone as the Physiological Basis oi .1 :sie (part I, chapter li>.
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
Many songs which contain a limited number of tones, too limited
to constitute an organized key, still show definite tonality, either
major or minor.
Structure
The sequence of tones in Chippewa songs shows that certain songs
are harmonic and others melodic in structure. The following basis
of classification has been adopted : Songs are classified as harmonic
if their accented tones follow the intervals of diatonic chords, and
as melodic if their contiguous accented tones have no apparent chord
relationship. In the latter class are included many songs in which
the relations of the tones to a keynote is not strongly in evidence.
In many instances the interpretation of the words of these songs
has been difficult, the Mlde' songs requiring special skill in transla-
tion."
Tabulated Analysis of ISO Songs
The classifications presented are broad in their outlines. Further investigation
may make it possible to analyze mure closely and to classify more definitely many
of these songs.
Melodic Analysis
TONALITY b
a
o
White Earth and Leech
Lake reservations.
Red Lake reservation.
a
03
Q
O
i
o
o
1-^
1
Sg
o w
a
c
1
7
1
P
O
o
3
2
ID
1
to .
|o
o
9
03
£a
c s
I
3
6
03 S
1=
o
Eh
65
25
12
2
5
0
G
3
2
2
3
4
G
1
1
104
73
2
pginnin^ major, en ing
1
iseginnnif, 1 in , g
—
180
a The writer gratefully acknowledges her indebtedness to Mrs. Charles Mee, Mrs. Mary Warren English,
Rev. C. II. Beaulieu, and Mr. G. II. Beaulieu for their assistance as interpreters; also to the Rev. J. A.
Gilflllan, who for twenty-five years lived on the White Earth reservation, speaking the Chippewa
language with a fiuency and understanding rarely attained by a member of the white race.
6 Tonality is defined as "the quality and peculiarity of a tonal system; " key is defined as a "system of
tones the members of which bear certain definite relations to each other. "
Certain of the songs under analysis show a sequence of tones similar to a major or minor key; in other
instances the tone material which comprises a key or scale is present and the songs are clearly major or
minor in tonality, yet the arrangement of the tones with reference to a keynote is not apparent. Thus
from actual observation we discern the distinction between these two terms.
Since we are considering music of a period in which what we now designate scales and keys were not for-
mulated, the terms "major tonality" and "minor tonality" are used in preference to the common term3
"major key" and "minor key."
DEXSMOUfil
CHIPPEWA MUSIC
Melodic Analysis — Coni Lnued
TONE MATERIAL^
'
a
o
■a
S
White Earth and Leech
Lake reservations.
Red Lake reservation.
I
B
8
3
a
o
►3
B
Ml .
§ o
O
BX)
c
o
1
i
1
'if
r
- 1
o
Eh
18
11
19
2
1
8
?,
i
1
1
2
2
1
6
3
1
3
38
99
4
1
27
Major triad, sixth, and fourlh
9
i
1
3
1
2
1
1
i
2
2
'
?
1
3
10
2
1
1
1
1
i
1
8
Octave complete except seventh
Octave com] ili 'ii> excepl sixth
1
2
3
14
1
1
2
8
4
1
3
19
3
1
3
2
2
1
3
38
5
•"•"I
Total
1SII
MEOINNINOS OK SONliS
On the twelfth
33
29
'
4
3
2
3
2
' 3
54
On the fifth
3
1
4
4
44
1
1
1
2
1
4
....
1
4
1
1
5
5
11
2
1
1
1
1
2
"T
?
3
3
5
1
7-
T
I
On the sixth
2
,
2
2
1
5
3
1
—
—
—
Total
a Many songs included in this classification consist of tones which are not clearly referable to a tonic or
keynote. The songs are grouped according to the tone material which they contain. Thus, if a melody
contains F sharp and C sharp, begins on A and ends on D, it is, in this classification, regarded as being in
the key of D.
Certain melodies readily conform to the three principal chords of a key; other melodies containing the
same tones have no affiliation for either the principal chords or the closing cadence of the key. This pecu-
liarity is noted in the analysis of the song.
10
BUREAU OF AMERICAN ETHNOLOGY
Melodic Analysis — Continued
ENDINGS OF SONGS
White Earth and Leech
Lake reservations.
Red Lake reservation.
o
OJ
«
£
0
a
Ol
a
a
8
bo
~«5
a
8
03
Si
&»
T3 .
•-M
8
3
I
0
I
03
3
■-j a
|1
a
P
S
1H
a
a a
|8
p
3
o
56
21
10
3
8
3
6
?
3
1
5
2
9
1
3
9
6
2
8
3
120
On the fifth
39
10
1
1
1
1
1
1
1
17
In two keys
3
1
4
180
FIRST PROGRESSIONS
83
7
10
4
9
2
2
4
4
5
4
3
2
2
7
4
5
7
5
135
3 2
45
1
180
1
ACCIDENTALS a
Songs containing no accidentals
73
4
1
3
1
1
11
10
4
3
1
6
9
2
1
9
8
12
147
9
1
1
4
1
3
1
1
1
1
3
3
T-
180
a The principal object of this classification is to show the frequency with which tones diatonically altered
occur in these songs. Each accidental is classified according to its interval from the keynote which is
implied by the beginning, ending, and general trend of the melody.
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 2
CICl'GWAN (DOCTOR'S RATTLE), SHOWING MANNER OF HOLD-
ING INSTRUMENT WHEN IN USE
MiTl'GWAKIK' (MIDE' DRUM), REVERSE SIDE
MUSICAL INSTRUMENTS
DENSMOfcS]
CHIPPEWA MUSIC
Rhythmic Analysis
11
Beginning on accented portion of
measure
Beginning on unaccented portion...
Transcribed in outline
Total.
Metric unit of voice and drum the
same
Metric unit of voice and drum differ-
ent
Recorded without drum
Total.
White Earth and Leech
Lake reservations.
Red Lake reservation.
Structural Analysis
20
711
8
6
5
6
9
2
2
8
1
8
5
3
9
2
10
41
139
T
180
1
Harmonic.— Songs in which the accented tones follow the intervals of diatonic chord.
Melodic.— Songs in which the accented tones suggest the intervals of a diatonic scale,
having no apparent chord relationship to each other.
MUSICAL INSTRUMENTS
The songs of the Chippewa are usually accompanied by either the
drum or the rattle, while the Chippewa lover intersperses his songs
with the music of the flute.
The drum used in the social dances is about 2 feet in diameter
and 10 inches in thickness; it is suspended between stakes, which
are driven firmly in the ground. The sides of the drum are decorated
with beaded cloth. It is said that in the old days it was customary
to make a war drum by driving stakes in the ground and stretching
an entire hide over them, binding it in place by means of strong hoops.
The Mide'wiwm has its special musical instruments. These con-
sist of the tinti'gwakik' (drum) and cici'gwan (rattles). These instru-
ments are shown in plates 1 and 2.
The miti'gwakik' shown in the illustration is very old. It was
purchased on the Red Lake reservation, where it has often been
l£> 13UKEAU OF AMERICAN ETHNOLOGY [BULL. 45
heard at a distance of 10 miles. Those drums are not unpleasantly
loud, but the sound has great vibration and carries a long distance.
This mitl'gwakik' is made of a basswood log, hollowed by charring
and scraping. It is 16^ inches high, 10 inches in diameter at the
base, and 8£ inches in diameter at the top. It is decorated with a
blue band at the base, four heads representing the four Mide' manioV,
and an oblong said to represent a bag containing yarrow, which
signifies life. The heads are outlined in red and the bag in blue.
When in use it is partially filled with water (the plug in the side is
plainly shown). The top is of untanned deerskin, which is dampened
and stretched very tight. At times, instead of being dampened the
top of the drum is held toward the fire or in the warmth of the sun,
which has the desired effect. Great care is taken in preparing a
drum for use, the proper quality of tone being secured by the treat-
ment of the deerskin top.
Four rattles comprise a set as used in the Mide'. (See description
of Mide' ceremony, p. 48.) These are not decorated. Three consist
of small wooden drums, each provided with a sewn cover of hide,
containing small stones or shot and pierced by a stick which forms
the handle. The writer has seen rattles of this type used in the
treatment of the sick by means of the Mide'. These rattles are used
also in the "shooting of spirit power" during a ceremony of the
Mide'. The fourth rattle is made on a frame of bent wood. Each
of these rattles has a different tone, determined by the quantity of
stones or shot which it contains.
The round instrument at the right of the drum in the illustration
is the rattle used by the dja'sakid (doctor or juggler) ; if the dja'sakid
be also a member of the Mide'wiwin he may use this as a drum when
practising the Mide' songs or teaching them to others. As stated else-
where, the dja'sakid are frequently members of the Mide'wiwin, and
it was from such a man that this instrument was secured. It is 9£
inches in diameter, one-half inch in thickness, and contains only three
or four shot or small stones. Across the face of the drum is a blue
band, the smaller segment of the circle being painted green. Larger
instruments of the same type are also used by the dja'sakid; many of
them are elaborately decorated. The use of this instrument in the
treatment of the sick is fully described in the chapter on dream songs.
(Seep. 119.)
The drum used in the moccasin game is about 15 inches in diameter
and 2 inches in thickness. It may have hide stretched over one or
both sides and some specimens have small bits of jingling tin set
m the hoop. The stick used in beating this drum is similar to the
one shown with the dja'sakid instrument.
The courting flute of the Chippewa is usually made of cedar and is
similar in construction to the flutes of other Indian tribes.
DBNSMOBB] CHIPPEWA MUSIC 13
THE MIDE'
Beliefs
The MMe' (Grand Medicine), is the native religion of the Chippewa.
It teaches that long life is coincident with goodness, and that evil
inevitably reacts on the offender. Its chief aim is to secure health
and long life to its adherents, and music forms an essential part of
every means used to that end. Thus far the study of the subject has
revealed no reference to war and no allusions to enemies. The ele-
ment of propitiation is also absent from its teaching and practice.
The organization of this religion is called the Mide'wiwin ((hand
Medicine Society) . Both men and women are eligible to membership;
a male member is called Mide'wini'ni, and a female member Mide'-
wikwe' . There are eight degrees in the Mide'wiwin, persons being
advanced from one degree to another on receiving certain instruc-
tions and bestowing valuable gifts. Meetings of the Mide'wiwin are
held in the spring of each year, members being initiated at that
time; it is also permissible to hold initiation ceremonies in the fall.
All members are expected to attend one meeting each year for the
renewal of their "spirit power." Smaller gatherings may be held at
any time for the treatment of the sick, and it is also permissible for
a few members of the society to meet at any time for the purpose of
singing the songs and strengthening their faith in the beliefs of the
Mide'. A feast and an offering are inseparable features of all these
gatherings.
Ritual exactness is not obligatory in the Mide'. Its ceremony of
initiation has a general outline which is universally followed, but the
details vary in different localities. No ceremonial garments are worn,
and there are no ceremonial articles connected with the organization.
It is said that each leader has a pipe which he smokes only at meet-
ings of the Mide'wiwin, but this seems a matter of custom rather than
of requirement. There is nothing which corresponds to an hereditary
priesthood, the leaders of a ceremony being men who hold high degrees
in the society, and are chosen for the office at each meeting of the
society. The selection of songs at the various parts of the initiation
ceremony is decided by the leaders of the ceremony, as there are
many songs which may be sung.
Since ritual exactness is not obligatory in the Mide', there is no
penalty attached to a mistake in the singing of a song. De'bwawen'-
dunk, an old member of the Mide'wiwin, states that there is a cor-
rect way to sing each song and that an effort is made to sing it in
this manner because failure to do so is displeasing to the Mide'
manido'. Added importance is given to this statement by the fact
that De'bwawen'diink lives on the Bois Fort reservation, where the
Indians have had little direct contact with white men and where the
old traditions are particularly well preserved.
14 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
The emblem of the Mide' is mi'gis, a small, white shell, which is said
to appear upon the surface of the water when the action of a manido'
(spirit) causes the water to seethe. Manido' in the form of water ani-
mals, mermaids, and mermen, also appear to the members of the
Mide'wiwin for the purpose of imparting instruction when they are in
a frame of mind to receive it. Hoping for such a visitation, it is not
unusual for a member of the Mide'wiwin to sit beside the water for
hours at a time, singing Mide' songs and beating the Mide' drum or
shaking a rattle.
The healing art of the Mide' is entirely different from that prac-
tised by the Chippewa doctors, the method of treatment is different,
and the two vocations are distinct, though it is possible for a doctor
to be a member of the Mide'wiwm. Descriptions of the treatment
of the sick by both these methods will be given."
The life enjoined on the members of the Mide'wiwm is a life of rec-
titude. They are taught that membership in the Mide'wiwm does
not exempt a man from the consequences of his sins. Lying and
stealing are strictly forbidden ; also the use of liquor.
The Mide' is not without its means of punishing offenders. Those
holding high degrees in the Mide'wiwin are familiar with the art of
subtle poisoning, which may be used if necessary. It is said that
they are also able to call down curses on those who displease them.
The writer was recently informed of an instance in which a man
offended a Mide'wini'ni, who retaliated by saying that a misfortune
would soon befall him. In a short time his little daughter died.
Songs
The songs of the Mide' represent the musical expression of religious
ideas. The melody and the idea are the essential parts of a Mide'
song, the words being forced into conformation with the melody.
To accomplish this it is customary to add meaningless syllables either
between the parts of a word or between the words; accents are mis-
placed and a word is sometimes accented differently in various parts
of a song; the vowels are also given different sounds, or changed en-
tirely. Any of these alterations are permissible. In addition to the
meaningless syllables used to fill out the measures we find the ejac-
ulations he hi hi hi, used in the songs associated with the "shooting
of spirit power."
The writer has even been informed that it is permissible for differ-
ent members of the Mide'wiwin holding high degrees to use slightly
different words for the songs, but the idea of the song must always
remain the same. The words serve as a key to this idea without
fully expressing it. Sometimes only one or two words occur in a song.
Their literal translation is meaningless, but to an instructed member
a See pp. 51 and 119.
UBNSMOBB] CHIPPEWA MUSIC 15
of the Mide'wlwm they bear an occult significance. Many of the
words used in the Mide' songs arc unknown in the conversational
Chippewa of the present time. This fact has made it difficult to secure
satisfactory translations of these songs. Nine or ten interpreters
have been employed on many of them, the final translation being
made by three particularly efficient interpreters in consultation with
two members of the Mide'wiwm. By this method it has been possi-
ble to reach the idea underlying the song.
A Mide' song is not considered complete unless the syllables ho ho
ho ho are repeatedly given at the close. When singing these songs
into the phonograph the singers have often requested a signal, so that
they might be sure to record these syllables before the blank was
filled. If necessary they leave a rendition of the song unfinished
in order to record them; some give them also before singing the song.
A member of the Mide'wiwm usually begins his performance by
drumming rapidly; then he gives the ejaculations, or speaks to the
Mide' manido' or makes some remarks concerning the song he is about
to sing; after this he sings the song, the beat df the drum being continu-
ous throughout. The drum appears to be an independent expression,
as in a large majority of instances the metric unit of the drum is
different from that of the voice. (See p. 11.)
The songs of the Mide'wiwm are estimated as several hundred in
number. Some have a direct ceremonial use, as in the initiation of
members; others are connected with the use of "medicine," the song
being sung when results are to be accomplished by ' ' spirit power ; ' '
and other songs are known as ni'miw&g' , or dancing songs. Certain
ceremonial songs are grouped in series of eight or ten, the members of
the Mide'wiwm dancing during the last half of the series.
In the words of these songs the ancient teachings and beliefs of
the Mide' are preserved. The words of the songs frequently furnish
the texts for discourses by the Mide'wlnl'ni. In some of the series of
songs it is the custom that one song be sung by each man, who fol-
lows the song with a discourse based on it.
Many of the songs are taught only to those who pay for the privi-
lege of learning them, and all the Songs are recorded in mnemonics on
strips of birch bark. This record serves as a reminder of the essential
idea of the song and is different in its nature from our system of
printing. The Indian picture preserves the idea of the song, while
our printed page preserves the words which are supposed to express
the idea but which often express it very imperfectly."
a The drawings for songs contained in this paper were made as follows (serial numbers used): Draw-
ings for songs nos. 1, 4, 81-88 by O'deni' gun; those for songs nos. 16-24 by De'bwaw&i'dunk ; those for
songs nos. 65-69 by Be'clgwi'wizans, and that for song no. 75 by Manido'giclgo'kwe— all of whom sang
the songs. The drawings for songs nos. 2, 3, 5-15, 25-64, 70-80 (except no. 75), 89-107 were the work of
Na'waji'bigo'kwe, who sang only a portion of the songs but made the drawings for the remainder on
hearing the phonograph records of the songs.
16
BUREAU OF AMERICAN ETHNOLOGY
I BULL. 45
The drawings of the Mide' songs are universally understood by
members of the Mide'wiwm. A large number of drawings have
been tested in the following manner: A song has been phonographic-
ally recorded and the picture drawn on one reservation and later the
phonograph record has been played to a member of the MIde'wiwin
living on a distant reservation. The song has been recognized at
once and a picture drawn without hesitation. This picture, on com-
parison with the first, has been found identical in symbolism, differ-
ing only as one person draws better than another. By an inverse
test, a song picture has been shown to a member of the Mide'wiwm
and she has sung the song which was sung on a distant reservation
by the person who drew the picture.
There are certain established symbols in the Mide' drawing, the
principal ones being the circle, used to represent the earth, the sky,
a lake and a hill ; and straight or wavy lines, used to represent " spirit
power." These symbols are combined with a crude delineation of the
objects mentioned in the song.
This system of mnemonics may be used for other purposes than
the songs. The writer once asked a woman who is a member of the
Mide'wiwm to write the Chippewa word Gi'cigo'i~kwe in the Mide'
mnemonics. The woman had never heard the word before. It is a
proper name combining the words gi'cig (sky) and i'Jcwe (woman), the
vowel o being a connective. The woman said that it would require a
little time for her to think how to write the word and that no one
could be in the wigwam with her when she wrote it. The result is
shown herewith (see fig. 1).
The double circle represents the sky, in which the moon is seen; the
single circle represents the earth. In each of these circles is the fig-
ure of a woman, the two figures being connected by a line which
touches the hand of the figure in the earth circle. The explanation
given by the woman was as follows:
This name mea^s that there are really two women instead of one. In the sky is
one of these women; the other is on the earth. But the woman in the sky is con-
stantly giving spirit power to the one on the earth, which the one on the earth reaches
out her hand to receive.
i.exsmorb] CHIPPEWA MUSIC 17
This illustration shows that the Mule' writing can be used to
express complicated ideas.
The example of song writing here given (fig. 2) shows a delineation
of the objects mentioned in the song.
The words of the song are :
Wase' Light
Nita'binos Around you
O'gima Chief
I'kwe Woman (princess)
This picture was drawn by the same woman as the preceding.
She stated that the horizontal line represents the edge of the wig-
wam, along which are arranged various articles of value indicated
by the dots. At each end are torches, the light of which falls
Fig. 2. MIde' song writing.
on the gathered wealth, causing many of the articles to glitter. These
articles belong to a woman standing with upraised hands and wear-
ing a pearl necklace with a locket.
In singing this song the woman pointed to one portion of the prc-
ture after another, tapping the birch bark lightly as she sang and
traversing the row of dots, the horizontal line, the outline of the
necklace, and the torches, then beginning again at the row of dots.
The woman who sang this song stated further that "it is a medi-
cine song" and that she could, if desired, furnish some of the medicine
for use with the song. "The medicine was in the form of a powder
and would be worn in a medicine bag."
No phonograph was available at the time, but the song was noted.
It begins on a high tone, descending with frequent intervals of the
12692°— Bull. 45—10 2
18 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
minor third and glissando progressions, and has a compass of an
octave and two tones.
Many of the Mide' songs are grouped in series, the pictures being
drawn on a long strip of birch bark. Midway through such a series
a line is drawn. This indicates a pause, after which the people rise,
and dance during the remaining songs of the series.
The antiquity of these songs is shown by the fact that many of
them are widely known among scattered peoples who came originally
from the same locality but have had practically no communication
for a long period of time. The preservation of the songs is aided by
the mnemonics, and the importance attached to them is shown by the
reluctance of the Mule' Indians to sing them until fully assured of the
sincerity and good will of the person making the request.
In analyzing the music as the important part of the expression,
the question arises whether the melodic progression or the rhythm
is more strongly impressed on the mind of the singer. Which of
these elements is to him the more important feature of the song?
A careful review of more than a hundred Mule' songs shows them to
consist of simple intervals and complicated rhythms. The tones
comprised in the songs are limited in number, many of the songs con-
taining only three or four tones, except as the number is extended
by repetition in a lower octave; the variety of rhythms is great, as
will be seen in the transcriptions. Accidentals rarely occur in the
songs. An accidental in the opening measures of a song is worthy
of little consideration, as in many instances the introductory measures
are sung only once, and the singer is allowed some freedom in them.
The rhythm of the song is determined by noting the accented
tones and dividing the song into measures according to them.
By observation we find that in many of the songs the metric unit
is the measure, not the individual count in the measure. In these
instances the accented measure beginnings are found to conform to
a very slow metronome beat, but the intervening tones are irregular
in length and can not be accurately indicated by note values. These
songs would resemble chants except for the freedom of their melody
progressions.
The next fact which we note in connection with the rhythm is that
it is most peculiar in songs which are intended to produce magic and
mysterious results. In this class are included songs for the healing
of the sick as well as songs used in connection with special "medicine"
for success in hunting or other undertakings. In many of these songs
there is no repetition of a rhythmic unit, but the entire song consti-
tutes a rhythmic unit, its repeated renditions forming a satisfactory
whole.
There are other songs in which two or more measures of varying
lengths combine to form a rhythmic unit , which is repeated throughout
dbnsmorb]
CHIPPEWA MUSIC 19
the song. One measure occasionally constitutes the rhythmic unit, ■
which is continuously repeated.
The rhythm is simplest in the songs used while "shooting" a can-
didate for initiation into the Mlde'wlwm. In these songs there is
only one object— that the person shall fall unconscious, showing that he
is "entirely controlled by the medicine." The rhythm of these songs
is an emphatic regular rhythm. When it is desired that a person be
energized to some great undertaking the rhythm is irregular but so
fascinating in its irregularity that it holds the attention. This is
what is always sought — to control the person.
The ni'miwug' (dancing songs) are always sung vibrato, with the
wavering of voice which would be produced by the motion of the
body in dancing. This wavering of the voice is inseparably con-
nected with the song. In all Mlde' songs there is a tendency toward
uncertainty of intonation. Repetitions of the same tone usually
shade downward, and the transition from one tone to another is fre-
quently glissando. By a strange contrast it is found that accidentals,
when present, are usually given clearly and correctly. With very
few exceptions, the repetition of a song is begun on exactly the same
pitch as the first rendition. This frequently involves the ascent of a
twelfth and is often made more difficult by the fact that the song
ends on a tone below the natural range of the singer's voice. Thus
the song as a whole preserves its tonality and repetitions are accu-
rately begun, although the individual tones of the song may be uncer-
tain in intonation. This suggests the possibility that these variations
in intonation may be an attempt at ornamentation. The melodic
material is extremely limited and this wavering of the voice may
seem to add to the effectiveness of the song.
A few points concerning the song as a whole deserve our attention.
The repetition of a song is usually continuous with the previous ren-
dition, although a half rest occasionally occurs between the rendi-
tions. The repetition of a song frequently opens with a new word
and the melody returns to the fifth or sixth measure of the original
rendition. Repetitions of a song by different singers are found to
be identical in all important respects.
Unimportant phrases near the .close of the song frequently vary in
number. They are usually reiterations of a word and the exact
number seems not essential.
An Indian rarely hums a Mlde' song before singing it into the
phonograph and the accuracy of his memory is shown by the fact
that the song in repetition is never changed in rhythm, the changes,
when they occur, being in unimportant note values or melodic pro-
gressions.
In summarizing the preceding chapter we find the songs of the
Mlde' to be essentially a musical expression, the form of the words
being subordinate to the form of the melody.
20 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
The drum and voice are usually independent in metric units, the
drum being a rapid unaccented beat and the voice having a rhythm
which bears a relation to the mental concept of the song.
The intonation has been shown to be frequently variable for two
reasons : First in imitation of the motion of the body in dancing, and
second for the apparent purpose of ornamentation.
No effort has been made by the writer to secure the "bad medicine
songs" or songs of cursing. One who has heard a large number of
these songs states that they are terrible in their maledictions and
represent a phase of life and thought which it were better to leave
untouched. They are the weapons of defense in the Mide', and all
that is believed to have been wrought through them will ever be an
unwritten page.
Use of Medicine
The power of the Mide' is exerted through a combination of two
mediums, music and medicine. The former has been set forth in
detail; the latter is less available for analysis, but certain informa-
tion concerning it has been secured.
The medicine and medicine practice of the Mide' should be dis-
tinguished from that of the dja'sakid, who are doctors or jugglers.
That they may also be members of the Mide'wiwin does not change
the fact that the two professions are distinct.
The use of medicine in connection with the Mide' is as follows :
Each member of the Mide'wiwin carries in his Mide' bag many herbs
and other substances supposed to have medicinal value, in addition
to the mi'gis (small white shells used in the Mide'). If a cure of the
sick is desired he frequently mixes and sells a medicine after singing
the song which will make it effectual.
In the working of a charm it is considered necessary to use both the
proper song and the proper medicine. For that reason a small
quantity of the medicine is furnished to a person who buys such a
song. To accomplish the desired results this medicine should, if
possible, come in contact either with the person to be influenced,
with some of his personal possessions, or with a small wooden effigy,
which the person working the charm makes for the purpose. The
medicine may consist of one or more ingredients and may be of
greater or less value. Certain herbs enter into the composition of
many medicines, while others are rare and difficult to obtain.
In the working of a love charm it is customary to obtain a thread
from the clothing of one of the persons to be affected, or, if possible, a
loose hair. Two small wooden effigies are made, one representing
a man, the other a woman, and the person working the charm
binds these together with the thread or hair. The effigies are then
placed in a small bag, with some of the proper medicine. This bag
DEMSMOitE] CHIPPEWA MUSIC 21
is worn around the neck of the person working the charm, who fre-
quently sings the song which is supposed to make the charm effective.
If the intention is to work an evil charm the method of procedure
is somewhat similar. An effort is made to secure some personal
possession, to which the medicine is applied; if this is impossible,
the medicine is applied to a wooden effigy of the person, and the man
working the charm sets this figure before him as he sings the songs
of cursing. The medicines used in connection with these songs are
said to be powerful and subtle vegetable poisons.
It is believed that if a Mlde'wml'nl has in his possession any article
belonging to a person he can work at any time whatever charm he likes
upon that person. It is said that the singer breathes upon his medi-
cine bag before working a charm.
A detailed account of the use of medicine in connection with cer-
tain songs is given at the close of this section.
One of the songs used at the dance which follows a Mide' ceremony
expresses the idea of a contest between two members of the Mide'-
wlwin to determine whose medicine is the stronger, the result of the
contest to be determined by the effects produced by the two medicines.
The strength of his medicine is the measure of the power of a
Mlde'wml'nl.
Origin
Narrative by Na/waji/bigo/kwe (" woman dwelling among the rocks")o
The Chippewa believe in many manido7, or spirits. The highest of them all is
called Kijie/ manido7, literally translated, "Uncreated Spirit." Those connected
with the Mide7 are (1) Mi.de7 manido7, the Mide7 spirit, and (2) four manido7, one at
each point of the compass. These are called Wab.ununk7daci7 manido7, the East
spirit; Ca7wanunk7daci7 manido7, the South spirit; Ningabi7anunk7daci7 manido7,
the West spirit; and Kiwe7dlnunk7daci7 manido', the North spirit. In the Mide7
it is also the belief that there are four ''layers" beneath the earth and four above
the earth. These ''layers," or planes, are distinct from each other.
Originally all the inhabitants of the earth (Chippewa Indians) who were to learn
the Mide7 lived on Madeline island, in Lake Superior, and in that portion of the
country. They were selected by the Mide7 manido7 to be taught the Mide7 religion.
There was first a consultation among the four manido7 (East, South, West, and
North). This took place at the center of the earth, not under the earth, but at some
place far away. There they sat together and talked and decided to teach the MT.de7
to these particular Indians.
So the East manido7 was selected to go among these Indians and teach them.
Before he left the others he told them that they must get everything ready and
decide exactly how the Mide7 should be taught to the Indians. Of course the
East manido7 could not approach the Indians in his spirit form, so he was born of
an old woman who had lived with her husband all her life but had had no children.
This old couple lived on Madeline island.
a The narrator is a prominent member of the Mlde'wtwln on the White Earth reservation in Minnesota.
The narrative was interpreted by Mrs. Mary Warren English, sister of William Warren, the author of
"History of the Ojibwa," and is given in the exact words of the interpreter. An Indian who is familiar
with the Mide' traditions on the Bois Fort reservation states that this is substantially the belief held
there concerning the origin of the Mlde'.
22 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
The people were astonished and said, "He must be a wonderful person to be born
in this way," so both mother and child were treated with great respect.
He was indeed a wonderful child. Whatever he said came true. He would say
to his father, "Go and get a bear," and his father would find one without any diffi-
culty. It was no effort at all for the family to get enough food. The child grew up
rapidly, and when he was a young man he had as his friend and companion one who
was his mother's brother's son — his cousin.
When he grew up he began to consider, "I must begin to instruct these Indians in
the Mider; that is the purpose for which I came."
After thinking this over he said to the old man, his father, "We will go on a journey
to the end of the lake;" his mother went with them. The point to which they
went was not where Duluth now stands, but was where Superior is located. This
was the location of the old town of Fond du Lac.
They reached this place and stayed four days. On the fourth day a terrible storm
came from the northeast, sweeping across the lake. During the storm the East manidc/
said to his father and mother, "My cousin at Madeline island is very ill; we must
go back."
His father said, "It is impossible to even put the canoe on the water in such a
storm."
Then the East manido/ said, "Put the canoe on the water, and the waves will at
once subside."
As soon as his father put the canoe on the water the storm subsided.
It was about noon when this happened, and the distance to Madeline island was
about 80 miles, but they paddled so fast that they reached there before sundown.
When they arrived they found that the cousin had been dead four days, but the body
had been kept so that they could see him.
The East manido' told his father and mother and their friends not to weep for the
young man. Then the next morning he told the people to make a long lodge extend-
ing east and west, such as is now used for the Mide'. He showed them how to make
it with the top open and the sides of birch bark and leaves, and he said that they
must all bring tobacco and cooked food. In the center of the lodge he placed a Mkle'
pole, and told the Indians to sit in rows around the lodge; he also made a Mide'
drum and rattles, such as are still used.
West of the pole and a few feet away he placed the hewn coffin of the dead man;
on the south side of the lodge he seated the relatives and friends.
Then he told his father to take the Mide' drum and sing.
The old man said, "I do not know how to sing."
His son said, "Just try; make the effort and you will be able to sing."
Then the East manido/ spoke to the parents of the dead man and to his own parents,
saying, "I am about to leave you. I will be absent four days. You must stay here
continuously and do every day as I have told you to do to-day." The old man
promised to sing the Mide' songs and do everything as he had been told to do.
Then the East manido' took vermilion paint and also blue paint and made marks
across the faces of the parents of the man and also his own parents — streaks across
their foreheads, the lowest red, then blue and red alternately. Then he started
away and said he would return on the morning of the fourth day. He went through
the air toward the eastern sky. They could see him go.
After he had disappeared the old man took the Mkle' drum and sang more and more
MIde/ songs. They came to him one after another. He was assisted by his son.
Even while his son was absent he directed him spiritually.
During the four days that the East manido/ was absent the sun shone constantly.
There was not a cloud and the wind did not blow.
On the morning of the fourth day they looked toward the east and saw the sky
streaked with colors like those he had painted on their foreheads. The Indians all
looked in that direction with expectation.
DENS. MORF-1
CHIPPEWA MUSIC 23
All this time the old man had been drumming and singing.
A little before noon they heard a peculiar sound in the sky. It was from the cast.
Some one was calling Wa, hi hi, hi, as they call in the Mide/ ceremony. They
watched the sky and saw four Indians walking toward them in the sky, giving this
call. Each Indian had a living otter in his hand.
The East manido/ came down to the MIde' inclosure, lifted the drapery, and allowed
the others to pass in. The four manido/ came in and took their stand at the east end
of the lodge. A little beyond the center was the coffin of hewn logs, in which lay the
body of the young man, who had now been dead eight days.
The four manido/ held the otters with the right hand near the head and the left
hand below. These otters were their medicine bags.
The East manido/ stood first in the line. He began to sing, went halfway to the
coffin, blew on his medicine bag, and shot from there toward the coffin. Then the
top of the coffin burst open, and the East manido' marched around the lodge and took
his place at the end of the line.
Then the next one, the South manido', did exactly as the East manido' had done.
When he had shot, the young man opened his eyes and breathed. Then the South
manido' took his position at the end of the line.
Next came the West manido'. When he had shot, the young man raised up and
looked at the manido'.
Last came the North manido/ and when he had shot the young man rose up entirely
well in every respect.
Then these four manido' began to talk to the Indians, and to tell them that this was
the method by which they were to treat the sick and the dead, and that the East
manido' would instruct them in all they were to do.
Then these manido/ told the Indians that they would never see them again. The
manido/ would never come to earth again, but the Indians must offer them gifts and
sacrifices, which would be spiritually received. They must always remember that
the Mlde/ was given to them by the manido'.
The East manido' taught them the religion of the MIde' and put souls in their bodies
and arranged how these souls should live in the next world. A great many times
some of these MIde' people have a trance in which they follow the spirit path and see
their dead friends. They also receive messages in dreams. They are especially
liable to do this when sorrowing for their friends.
It is told to MIde' members that about halfway to the Spirit Land there is a punish-
ment place where fire burns out all that is evil in them. Sometimes there is so
little left of the person that he turns into a frog. There are many little frogs in that
place, but the good pass through it unharmed. This is the only phase of punishment
taught, except that if a person dies while drunk he will remain drunken forever and
his punishment will be an eternal and unquenchable thirst.
Those initiated into the MIde' are instructed how to lead a good life. These instruc-
tions are given only to the members. Less heed is paid to the instructions than in
the old days, but very sick people are still restored by means of the MIde7.
The narrator stated further that she had taken four degrees in the
society and received four great instructions, and that she tried to
live according to them. She stated that she "could blow on her
medicine bag and produce evil results upon those who displeased
her, provided they were not of the MIde';" she "would be powerless
against a member of the Mide'wiwin." She "would not, however,
exert this evil power, for it would displease the MIde' manido'. Some
do this and it always reacts in evil upon themselves."
24 BUREAU OP AMERICAN ETHNOLOGY t bull. 45
Such is the story of the Mide', which the Chippewa believes that
he received from the manido' who came to him from the morning sky.
Description of Diagram Representing the Path of Life
In the explanation of this diagram0 (fig. 3) the usual custom of
retaining the exact words of the interpreter has been followed.
The description is as follows:
This diagram represents the path of life from youth to old age, the tangent which
appears at each angle representing a temptation. There are seven of these tempta-
tions.
The first tangent represents the first temptation which comes to a young man.
If he yields to it he will not live long.
The second tangent represents the second temptation, and the penalty for this also
is that he will not live long.
With the third temptation the element of religious responsibility appears, and the
man (supposedly a member of the MmVwIwin) is asked: "How did you act when
you were initiated into the Mide'wiwin? Were you respectful to the older members,
and did you faithfully fulfill all obligations? "
The fourth tangent is placed beyond the angle of the line. It represents a tempta-
tion coming to a man in middle life.
Fig. 3. Mide' diagram of the path of life.
With the fifth temptation the man begins to reflect upon his own length of days,
and asks himself: "Have you ever been disrespectful to old age?"
The sixth temptation returns to the religious idea, and asks whether all religious
obligations have been fulfilled.
The seventh temptation is said to be the hardest of all, and if a man can endure
it he will live to the allotted age of man. At this time an evil spirit comes to him,
and if he has even so much as smiled during a Mide/ ceremony, he must reckon
with it then.
The word "temptation," as used in this connection, implies pri-
marily a trial of strength and motive. There seems a significance
in the fact that, with the exception of the first and last, these tan-
gents occur after an angle or turn in the line, suggesting that some
sharp turn in the life of the man is followed immediately by this
testing of his character.
Initiation Ceremony of the First Degree
The following description of an initiation ceremony is compiled
from statements made by several members of the Mide' wl win, all of
whom belong to the Mille Lac band of Chippewa, but are now living
on the White Earth reservation. The entire account has been veri-
a Drawn by the elder Maifi'ans, the explanation being interpreted by Mr. John C. Carl, a graduate of
Haskell Institute.
BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 45 PLATE 3
^^^2H
'j* % wdtJffi
lr
■ 111
^m
wm
It.- .mp WtFjr
L. 1 Hj^F A
^r ^I^B
IJBiil
■^^ m
MAIN'ANS
ULLETIN 45 PLATE 4
WA'WIEKUM'IG
DENSMOftB] CHIPPEWA MUSIC 25
fied, being translated into Chippewa and pronounced correct by
members of the Mlde'wrwhi.0
The ceremony described is that of initiation into the first degree.
Initiation into the second degree differs slightly from the first, and
initiation into the higher degrees is said to be different from the
lower degrees in many important respects; yet it is possible for per-
sons to be initiated into different degrees at the same ceremony.
It is also possible for a person to take two or even more degrees
at the same time, but this requires large gifts and extended instruc-
tion and is seldom done.
The first duty of the novitiate is to notify the old man whom he
desires as leader of the ceremony. This man consults with the novi-
tiate and selects four others to assist in the ceremony of initiation.
These do not usually hold as high degrees as the leader, but they
are expected to give part of the instructions and are familiar with the
duties of their office. A man is also selected to act as herald and
general director of the ceremony. This officer is called oc'lcabe'wis.
The first duty of the oc'kabe'wls is to announce the ceremony
to the members of the Mlde'wlwm and invite them to attend. He
carries tobacco, notifies the people that the ceremony is to be held,
tells them to smoke the tobacco, and also mentions, in the order of
their importance, the persons who will take part in the ceremony.
At the appointed time the people move their lodges and camp
near the place where the ceremony is to be held.
The initiators and the friends of the candidate have been prepar-
ing for the ceremony and have built the sweat lodge. This is
built wherever desired, and there is no prescribed direction for its
opening. Four poles are used in its construction, as the candidate
is to be initiated to the first degree. Six poles would be used if the
second degree were to be taken. These four poles are firmly planted
in the ground at points corresponding to the four corners of a square.
The poles diagonally opposite are then fastened together, forming
the framework of the roof, the binding together of the two poles
into one symbolizing the lengthening of life, which is accomplished
by means of the Mide'. Sheets of birch bark are spread over the
poles to form the sides and roof. "
The first ceremonial act on the part of the initiators consists in
entering the sweat lodge. A fire is built outside the entrance. Stones
o Accounts of the ceremony were given by two Chippewa bearing the same name, but not related to each
other. These were Maifi'&ns ("little wolf"), an aged man (see pis. 3, 6) who is most desirous that his native
beliefs shall be correctly interpreted to his white brethren, and Maifi'ans, a younger man, who retains with
remarkable accuracy the details of the ceremony as it was given in the old days at Mille Lac.
Wa'wiekum'ig (''the round earth") (see pi. 4) and his wife Na'waji'bigo'kwe ("woman dwelling among
the rocks ") are members of the MIde'wI win in high degrees and have given valuable assistance in explaining
the songs and symbols; also Jiwa'blkito' (''resounding metal"), who holds the fourth degree, and De'-
luvawi'n'dunk ("eating noisily"), plates, who holds the sixth degree, in the Mlde'wlwln. Supplementary
information has been received from all the singers of Hide' songs.
26 BUREAU OP AMERICAN ETHNOLOGY [bull. 45
are heated and laid in the center of the lodge and frequently sprinkled
with water by means of a wisp of brush, the steam enveloping the
bodies of the men. It frequently happens that one or two women
are among those who are to assist at the initiation. They do not
enter the lodge but stand outside, joining in the songs. Mide' songs
are sung in the sweat lodge, and the mltl'gwaklk' (Mide' drum) is
used. The leader of the entire ceremony is usually the leader in the
sweat lodge also. There is no prescribed length of time for remain-
ing in the sweat lodge, but several days are allowed for this portion
of the ceremony, at least four days being allowed if four men hold-
ing high degrees are in attendance.
On the first evening and on each succeeding evening before the
initiation the men who are to assist in the ceremony sing in their
lodges, and all who desire may enter the lodges and dance. The
leader of the entire ceremony sings first in his lodge, drumming on
his mitl'gwaklk'. The man next in importance answers from his
lodge, and when he has finished the other men who are to take part
in the initiation sing in their lodges in the order of their importance,
"to show how glad they are that this person is to join the Mkle'wrwm."
Then they all sing together, each his own song in his own wigwam.
Each Mlde'wmfni has his own set of songs, some of which he has
composed and some of which he has purchased for large sums of
money or equal value in goods. It occasionally happens that two
men have the same song, but this is a coincidence. It is not permis-
sible for one man to sing a song belonging to another unless he has
purchased the right to sing it. The songs owned by individuals are
those connected with the use of medicine, and when a man buys a
song he receives some of the medicine for use.
During the evenings which precede the initiation oeremony it is cus-
tomary for members of the MIde'wrwm to enter the lodges of the lead-
ers and ask for instruction or information regarding the Mide'. For
this purpose a person would go, if possible, to the Mlde'wml'nl who
initiated him, as the men always take an interest in those whom they
have initiated and require smaller gifts from them. The person desir-
ing such assistance takes a kettle of food or some other gift, enters
the lodge while the man is singing, and waits until he finishes the
song, thereupon placing the gift before him and asking the desired
instruction or advice, which is willingly given. One who does not
wish to ask a favor may enter any lodge and dance without pre-
senting a gift.
The following is an example of the songs which the Mkle'wml'nl
sing in their lodges during the evenings preceding the initiation
ceremony. Other songs for similar use are given at the close of this
chapter. It should be remembered that the songs given in connec-
tion with this ceremony are representatives of a class and not
obligatory.
densmore]
CHIPPEWA MUSIC 27
This song was sung by O'deni'gun ("hip bone"), an old man who is
said to be especially skilled in the use of medicine. In connection
with the song he gave the following narrative:
There was once an old man who was a member of the Mide'wiwin, and knew the
use of all kinds of medicines and their songs. This old man had a nephew to whom
he taught the songs and the use of the medicines. The young man's name was Awi'-
hinedjaV, and he was anxious to become very powerful. After a time the' old man
said: "My nephew, I can teach you no more; you know all that I know and now
you will be a leader of the Mide'wiwm." But the young man was not satisfied. He
brought many presents to his uncle in order that his uncle might try to remember
still more.
The old man said: "You are certainly very determined," and the young man
replied, "I know it."
The old man said: "My nephew, if you are as determined as this you will find out
whatever you desire. Come with me."
Then the old man took his nephew far into the woods saying: "We are going where
there is a river." So they walked on and on until they came to a rocky gorge. They
stood at the edge of the cliff, and looking down they saw a river far below them.
There were trees beside the river, but the cliff on which they stood was far above the
tops of the trees.
Then the old man said: "Jump down to the river," and the young man jumped
down, crashing through the tree tops and falling dead upon the rocks below. His
body was so crushed that it was not like a human body any more.
Four bears came and walked around his body, singing this song. When the
young man regained consciousness he heard the bears singing; when he opened
his eyes he saw the bears walking around him, and when they had walked around
him four times he rose up strong and well.
Then the four bears began to walk up the cliff and the young man followed th'em.
The four bears and the young man walked up the sheer face of the cliff as though it
were level ground. At the top they found the old man waiting for them. .
"Now, my nephew," he said, "you are as great a medicine-man as I."
So Awi'hinedja' became a teacher and leader in the Mlde'wiwm.
No. 1. Song of the Four Bears (Catalogue no. 189)o
Sung by O'deni'gun
Analysis. — This song follows closely the
intervals of the fourth five-toned scale b and
is sung with the vibrato which characterizes
the dancing songs of the Mide', making the in-
tonation somewhat indistinct.^ A compari-
son between the metric units of voice and drum
shows that 3 metric units of the voice are ap- ing shows the men emerging
, , . ., j. ,i from the wigwam and also
proximately equal to 2 metric units ot the standing at the edge of the
dl'Um. This Suggests the rhythm Commonly Cliff. In a similar manner the
... . ,,, ,, i , ,i • progress of a narrative is fre-
known as "two against three, .but the voice- qi,entiy sh0Wn in a Mide'
pulses are grouped in double measures with drawing.
a The catalogue numbers used throughout this paper correspond respectively with the numbers
designating the phonograph records of the songs, which are preserved in the Bureau of American
Ethnology.
b See p. 7.
28
BUREAU OF AMERICAN ETHNOLOGY
tBI'l.L. 4;
few exceptions, and there is no coincidence between voice and drum.
The 3-4 measures are unmistakable in rhythm and occur in both ren-
ditions of the song. A strong feeling for the submediant is evident
in this melody.
The song closes with the exclamatory phrases which characterize
the Mide' songs and which can not be accurately transcribed. The
notation will, however, give an idea of this peculiarity.
Voice M. M. J = 168
Drum M. M. J =104
( Drum ia unaccented eighth notes)
fc2zE
B=F
w^m
A -wi-hi-ne- dja ha ni
m
9 •=*
ma ha a - wi-hi-ne - dja
Kt^_4 Nzfe
^==^4^=^^l-4=g==F*="^4^
t=£n=±
d&k
ha ni - wi - tlo-
ma a wi ha ni
wi - do-i
PTE P P
^
P=Pti— # (Z
m
&=j=t=:4=U
tcz^J
hi we na hi de - mu
wi hi na a - wi-hi-ne -dja
-P-*-P-
m
i=t
^=£=^
ha ni - wi-do-se - in a a wi ha ni - wi-do-se - ma
E^^M^
n — f*
r^ Is ~fc
^F3~=] 1
^V
-H IJ J
=s-5k-j-!--JL-
-m^m-^d—
~1
1 *
II
hi
* * •
we na
tod
fti ?/i! ?oa Til yrt
Drum
|
1 |
4 m
^ 4
Drum-rhythm
Drum J =104
~
Se
Awi'hinedja' (Man's name)
Ni'widos'ema I am walking with him
In'ade'rnusa' Alas! Alas!
DENSMORB] CHIPPEWA MUSIC 29
After all have been in the sweat lodge a council of. the initiators is
called by the leader. This is held for the purpose of deciding what
part each is to take in the initiation ceremony. The person to be
initiated is present at this council.
The council may be held in any of the lodges. The leader sits at
the left of the entrance; beside him is his miti'gwakhV, and before him
is spread a blanket, given by the person to_ be initiated as a part of
the prescribed offering. The candidate for initiation sits at the right
of the leader; at the opposite side of the lodge sit the other four
initiators, while the oc'kabe'wis comes and goes as needed.
When all are assembled a discussion is held as to who will be best
adapted to certain parts of the ceremony. One man is selected to
be the first to "shoot" the candidate for initiation. This man is
called ne'mita' 'matin! — a special word which can not be literally trans-
lated; he was said to be "like the man who sits in the bow of the
boat to watch which way the boat is going." The next person to be
selected is the man who is to be the last to "shoot" the candidate for
initiation. This man is called we'daked' , and is said to be "like the
steersman who sits in the stern of the boat and guides it."
After these two have been selected the leader turns to the ne'mita'-
maun' and says, "You have been appointed by us; do as you think
best in the performance of your duties; we do not command you,
for we respect you and have confidence in your ability." He then
extends his hands over him and places the miti'gwakik' before him.
The ne'mita'maufi' then sings as many songs as he likes, the person
to be initiated rising and dancing before him as he sings.
When the ne'mita'maufi' has finished singing he turns to the man
next him and says, " NiMn (my MMe' brother), there must be some-
thing in you since you were chosen to take part in this ceremony."
He strikes the miti'gwakik' three times, saying ho ho ho, and hands
it to the man next to him, who sings as he has done and, in turn,
passes the drum to the man who sits next to him.
The men of lesser importance are expected to do little except sing
a few songs.
This council takes a long time and after it is finished the leader has
no further responsibility, though he may be consulted by those to
whom he has delegated authority.
M ain'ans stated that when he was one of the initiators he sang the
following song, which was taught him by the old man who initiated
him into the Mide'wiwm. In explanation of the song he said that a
manido' came to teach the Mide' to the Indians, and at that time
stopped on a long point of land which projects into Lake Superior at
Duluth. The song refers to this incident. (See p. 22). The person
to be initiated would not dance during this song.
30
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
No. 2. SONG OF THE MANIDO' (Catalogue no. 238)
Sung by Main'ans ("little wolf ")
Voice J =152
Drum J — 1 52
( Druin-rhythm similar to No. 1 )
-0- -•- -• • -#- • • _ _ _ _ ^
m^m^¥^mm-
g-f^-f^
?=p:
\EM
Na-wai - i he he nl ml si nun na-wai - i he he nl mi si
nun na-wai
/ie /ie nl ml si nun na-wai
he
mmmmmmm&&mm
ml st nun na-wai
he he nl ml si nun na-wai - i he
/te nl mi si
ntm na-wai
Ae /te nt mi si
gJF^-^
• — i — » s — i — • • n
ni - bi
- ha - wi - yan e - na - wai
Nawaii' On the center of a peninsula
Ni'bawiyan' I am standing
Analysis. — This song is melodic in structure, begins on the twelfth
and with one exception contains only the tones of the fourth five-toned
scale, the most frequent interval of progression being the
minor third The notes marked (• were slightly prolonged
in all the renditions. This prolonging of the tone was uni-
form but not sufficient to be indicated by a note value.
Attention is directed to the fact that with the introduction
of the second word the melody does not begin an entire
repetition but soon returns to a point near the opening of
the song, the remainder of the melody being the same as
in the first.
The following song is similar to no. 2, except that the
person to be initiated would dance during this song. It
may also be sung in the Mide'wigan (lodge in which the ceremony
is held) after the initiation.
densmore]
CHIPPEWA MUSIC
No. 3. Dancing Song
Sung by Main'ans
31
(Catalogue no. 239)
Voice ^— 108
Drum ^=108
( Drum in quarter notes )
wi-£ran-e
Ho wi-gan-e ho wi-gan-e ho wi-gan-e
h<>
wi-gan-
ho wi-gan-e
ho wi-gan-e ho wi-gan-
Sgiieiii
i=t=t«:
:p=p:
i I i r
l
v-*— ^
ho
wi-gan-e
\*h
ho wi-gan-
wi-gan-
1=^Ft
=«:2i^
«^a
ho
o-go-tci - tci -yan -e
wi-gan-
ho wi-gan-
m&
-*=W
-f rr ^-*
-*—(*-
-P J d X
I!
fc0
wi-nan -e
wi-gan - e
^te^^^^^^^^-js^g^EEa
Ao wi - sran - e
ho wi-gan - <
ho
wi-gan
j^s^^ai^Ei^^
snn
wi-gan - e
,'i-gau - e
wi-gan - e ho
O'gotcitci'yane' , In form like a bird
Siwa'wigane' It appears
Analysis. — This song is based on the second five-toned scale.0 It
begins on the octave and the principal interval of descent is the
minor third. The long note at the beginning of the measure is often
slightly prolonged. The metric unit of voice and drum is the same,
but the voice deviates somewhat, while the drum is maintained with
mechanical regularity. This song is given with the peculiar vibrato
which characterizes the Mide' dancing songs.
a See p. 7.
32
BUREAU OF AMERICAN ETHNOLOGY
[BULL.
Before initiation the candidate is taken into the woods by the
initiators and given an "instruction," each man talking to him for a
long time. Only one such instruction is given to a candidate for the
first degree, the number of instructions corresponding
to the degree to be assumed. In the first degree the
instruction is chiefly of a moral nature, the candidate
being enjoined to lead a virtuous and upright life. He
is taught also the names and uses of a few simple herbs
which he . is expected to secure and carry in his Mlde'
bag. He may find these herbs for himself or procure
them from some other member of the order. In the
higher degrees the instructions pertain to the mysteries
of the Mlde', the properties of rare herbs, and the
nature of vegetable poisons.
During the days which precede the ceremony it is cus-
tomary for the leading members of the Mide'wrwfn to
hold preparatory meetings. Any man may prepare a
feast and invite others to attend, each guest bringing a
pan or plate in which he carries away a portion of the food.
At the close of such a meeting the host rises and says, "We will
all sing and dance before you go." The principal guest lifts his
pan of food, then all rise and sing the following song, the words of
which mean "I am raising it up." This refers to the pan of food,
which is considered to be offered to the manido'. The same song could
be sung if a sick person were to be treated by the Mlde' and were
present in the lodge. The words would then be understood as refer-
ring to the sick person.
After the singing and dancing the principal guest leads and all
folio1 1>" ».s he walks around the lodge and out of the door.
Song picture
no. 3. It is in-
teresting to
note that the
drawing sug-
gests the skele-
ton of a bird
rather than a
living bird.
No. 4. Preparatory Song (Catalogue no. 190)
Sung by 0/deni/gun
Analysis.— This song moves freely along the tones of the
fourth five-toned scale. The basis of the song consists of two
major triads on G flat, one in the upper and one in the lower
octave, with E flat as the passing tone, but the presence of
A flat as an accented tone classifies the song as melodic
rather than harmonic. We can not safely infer a chord
unless more than one tone of it occurs in the melody, and
there is no contiguous tone which can be associated with A
flat in diatonic chord relation.
The chief musical interest of this song lies in the fact
that the metric unit is the measure, not the individual
part of the measure. There is no apparent relation between the metric
units of voice and drum,
densmork]
CHIPPEWA MUSIC
33
A variation between the words as sung and the words accom-
panying the translation will be found in many Chippewa songs.
Many words are dismembered and have meaningless vowel sounds
inserted between the syllables ; in many instances only a portion of
a word is used, and the pronunciation is often changed. Throughout
this work the words beneath the music are transcribed as given by
the singer. The words translated are the correct Chippewa and a
comparison between the two will show the changes made by the
singer. Thus in the present instance it will be seen that the syllable
liwe or wi is substituted for the two syllables nin-do, which are the
beginning of the Chippewa word; the syllable hi is also inserted in
the word. Meaningless syllables are italicized, whether inserted
between parts of a word or between the words of the song.
Voice ^— 84
Drum J = 108
(Drum-rhythm similar to No. 1)
Nindona/giwina/ I am raising it (or him) up
On the day before the initiation a feast is given in his own lodge
by the candidate for initiation. Invitations are delivered by the
oc'kabe'wls, and most of the guests are women. A man is appointed
leader of this feast, and when it is time for the guests to depart he
leads in the singing of two songs, shaking his rattle as he sings.
Anyone who knows these songs may join the leader in singing them.
During the first song the guests stand in a line, the leader being
next the door, and they dance as they stand in their places, the
dance step consisting in the rhythmic transference of the weight from
one foot to the other. Each of these songs is sung only once.
Before singing the first song the leader might say, ' ' I have learned
this song from an old man, and I will sing it as well as I can. " The
words of the first song refer to the pan of food which each guest is
allowed to take home with him.
12692
-Bull. 45—10-
34
BUEEAU OF AMERICAN ETHNOLOGY [bull. 45
No. 5. "My PAN OF Food" (Catalogue no. 240)
Sung by Main'Ans
Voice J = 126
Drum J = 92
(Drum-rhythm similar to No. 1)
=■ fL JL
**k ' ' ' ii£
Ha ni wa - kon i - na ha ha ha ha ha ha ni wa-kon .
Voice J. = 88
ZzL?± 1 — — 1 1 ^^^-
na ha ni
wa - kon i - na
nin - do - na - gun e he ha ni wa- kon i - na ha ni
Harmonic analysis: -" "^
i^=^=m
Wa'kofi..--. On my arm
Ina' Behold
Nin'dona'gun My pan of food
Analysis. — This song is plainly harmonic in structure, as
no. 5. The tjie melody tones follow the intervals of the major triad in
Sr dish of the upper and lower octaves, the sixth being used as a
food, a;
stated in the
song.
•s passing tone. Two renditions of the song were secured,
each beginning with several measures in slower time.
CHIPPEWA MUSIC
35
The rhythm in these measures is uncertain and can be only ap-
proximately indicated, but after the change of time the metric
unit is marked by the pulse of the measure beginning, which is very
regular.
Before singing the second closing song, the leader might say, "I
will now depart and announce that the feast is ended. "
No. 6. "My Pipe
Sung by Main'ans
(Catalogue no. 241)
Voice J =108
Drum J = 96
(Drum-rhythin similar to No. 1 )
JL. -ft. ft., .ft. -ft. JL jk.
\m »-j-
?-*
■— •-!— •-
__^E^E^_^=^^JE|t«;
f=p:
*=**=
3=±
(*«
Nin - do - na - gi - ci - ma we nin - do - na - gi - ci - ma we hi
f* -^ ft..
P ?' ft_
SF?=g=:Efe<=5-
nin- do - na - gi - ci - ma we nin - do na - gi - ci
~?-l 0 0^ • B~ • • - • •
=t==f
^3=^^±F
nin - do - na - gi - ci
nin - do - na - gi - ci - ma
ft. _*_ -ft. ft_ _#. >7
we nin - do - na - gi - ci - ma we nm-do-pwa-gun e nin - do
Nindo'nagicima' I am raising
Nin'dopwa'gun My pipe
Analysis. — The singing of this song was preceded by
very rapid drumming, the drum beats being in the value
of sixteenth notes, at «T=144 (two drumbeats to each beat
of the metronome at 144) ; with this rapid drumming the
ejaculatory ho ho ho ho of the Mide' was given.
This song begins on the unaccented portion of the
measure, which is somewhat unusual. The melody begins
on the twelfth and follows the descending intervals of the fourth five-
toned scale. The harmonic basis is the same as in the preceding song,
but the use of the second as an accented tone places it (according to
our present classification) among the songs whose structure is melodic
rather than harmonic.
Song picture
no. 6. The
man raises
his dish of
food and also
his pipe.
36 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
At the close of this song the leader lays down his rattle, raises his
hands with palms extended, and motions the people to follow him as
he dances out of the lodge.
It is expected that those who have been invited to this feast will
build the Mide'wigan (Mule' lodge), where the initiation ceremony is
to be held. This is done soon after the close of the feast, and as so
many are at work — some cutting the poles and others cutting brush
or bringing dry hay — the building of the lodge requires only a short
time.
Plate 5 shows a Mule' lodge with a ceremony in progress. At this
ceremony Wa'wiekum'ig was advanced to a high degree. The struc-
ture is made of a framework of poles interlaced overhead to form a
roof whose arch suggests the dome of the sky. In unfavorable
weather this framework is covered with branches. The size of the
lodge varies according to requirement. It is usually from 50 to 100
feet long, 12 to 15 feet wide, and about 8 feet high. In the old days
several hundred people attended the Mide'wiwin and the lodge at
that time is said to have been so long that a person at one end
could not hear voices at the other end and could judge the progress
of the ceremony only by the sound of the drum.
For an initiation into the first degree the lodge (see fig. 4) extends
east and west, with a door at each end. For an initiation into the
fourth degree the lodge is built with four doors — east, west, north, and
south. If necessary for warmth, two fires are made, one in front of
each door. A large stone is placed a short distance west of the fire
which burns near the eastern door. This stone symbolizes the power
of the Mide' as a defense, one man stating that the Mide' is like a
stone to throw at an enemy. West of the center of the lodge is the
pole belonging to the person to be initiated and known as his medicine
pole. If he is to take the first degree this pole is decorated with a
narrow blue band at the top, below which there is a broad band of
red, the remainder of the pole being unpainted. For an initiation
into the second degree the pole is decorated with a broader band of
blue, the width of the band of red remaining the same. It is also
placed nearer the west door. For the third degree an effigy of a
bird is placed near the top of the pole, for the fourth degree a cross-
bar is placed in the same position, and for each succeeding degree
there is a prescribed form of decoration.
On the day set for the initiation ceremony, just before sunrise, the
oc'kabe'wis and the person to be initiated go to the lodge carrying
on their backs the gifts which the latter will present to the initiators.
They go around the lodge four times, enter the east door, and hang
the gifts upon poles provided for the purpose. These gifts consist
of blankets and cloth as well as tobacco and food. The oc'kabe'wis
remains in the lodge to complete the arrangements.
BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 45 PLATE 5
INTERIOR VIEW
yi
^ -^
^7 1 ?i"ft ii 11 M ' lii i if 1 \^SJJ
2* ■■'''''
EXTERIOR VIEW
MIDE' LODGE
These photographs were taken during a Mide' ceremony at Elbow Lake, White Earth reservation,
May, 1909
BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 45 PLATE 6
MAIN'ANS AS LEADER OF A MIDE' CEREMONY
DBNSMOEB] CHIPPEWA MUSIC 37
Next a dog is killed for the feast. There is nothing ceremonial in
either the selection or the killing of the dog; the latter takes place
at some distance. The body of the dog is laid at the door of the
lodge and the entire procession steps over it, after which it is carried
away and cooked.
Early in the morning, before the hour set for the ceremony, the
person to be initiated goes to the lodge again, accompanied by the
leader, the four initiators, and the oc'kabe'wis.
The next event is the sending of the oc'kabe'wis with invitations
to the members of the Mide'wiwin. These invitations are in the
form of round sticks about the diameter of a lead pencil and about 6
inches long.
From one lodge to another the oc'kabe'wis goes, distributing the
sticks to those members of the Mide'wiwin who are entitled to attend
the ceremony. If a person has committed some offense against the
society he is not included in this invitation. The oc'kabe'wis counts
the sticks as he gives them out and returning reports the number to
the initiators, who thus know the number who will be present at the
ceremony. Only members of the Mide'wiwin are allowed to be
present in the lodge during the initiation. This company of people
have a leader appointed by the man in charge of the ceremony.
They assemble a short distance from the Mide'wigan, each carrying
his medicine bag, and an empty pan in which to carry away a por-
tion of the feast. All are dressed in their finest except two who
are called za'gimag', whose duties will be explained. At the proper
time the leader moves toward the lodge followed by the company in
single file. They march once around the lodge, singing the follow-
ing song:
No. 7. Processional (Catalogue no. 54)
Sung by Be'cigwi'wizans ('striped boy ")
Analysis. — This song begins on the fifth of the key and ends on
the fifth, having a range of one octave. The tempo is very rapid,
and the song is marked by vigorous accents. The
0 , ^ Q
two words are repeated in each line of the song, /fnrrn-4e<--AT"'
and pronounced very indistinctly. [K
At the eastern door the leader of the company SoNG PICTUKE N0- 7-
. . , The oblong represents
pauses and makes a plea to the Mide' manido ', the Mide'wigan. in
with right hand extended and left hand shaking th° center is a lons
1 • l ci l \ rm • ii Pole on wnich are
his rattle, (bee pi. 6.) Ihree times he advances hung the gifts to be
as though to enter and as many times withdraws as bestowed by the per-
i i • n mi i-i i-i son init'ated. The
though m tear, the fourth time he puts his head procession is entering
and shoulders through the opening and looks the lodge.
about as though in search of danger. Then he enters the lodge, fol-
lowed by the company. Main'ans, the elder, stated that in this
38
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
entrance the leader impersonated the bear, who is intimately asso-
ciated with the Mide'.
As the company march around the lodge the leader extends his
hands toward the stone, the miti'gwakik', and the medicine pole.
This is an act of reverence.
Voice J =108
Recorded without drum
nin-djiii- o - cka-na - ki wa
pin - di
Fv=P=
^M
fe*
mm
niu - djm - o
cka - ua - ki
pin - di -
- yan
m^
=f=p^
^EEEEBI
v— i — I — l
:p=ff=
E£Q=t
he
he e ha ni da ya
nin-djiii-o - cka-na -ki wa
pin-di- ge - yan
nin-djin-o - cka-na-ki wa
J=t
r Hi J~3 J J II
nin-djin. - o - cka-na - ki wa
pin - di - ge - yan
Nin'djlngocka'naki The ground trembles
Wapm'digeyan' As I am about to enter
While marching around the inside of the lodge the company sings
the melody which was sung as they marched around the outside, the
following words being substituted :
Cagwani/moyan/ My heart fails me
Wapln/digeyan/ As I am about to enter
Manido'wigan'm The spirit lodge
The company inarches around the lodge three times, and while
making the fourth circuit they sit down wherever they like.
The diagram (fig. 4) shows the arrangement of the Mlde'wlgan and
the position of its occupants during the ceremony. The oblong
densmore]
CHIPPEWA MUSIC
39
represents the lodge. At each side of the eastern entrance are two
figures. The first pair are ''fiery dragons which disappear into the
ground if the candidate has the proper offering;" the pair nearest
the entrance are "servants of the MidV manido', who may refuse to
admit the candidate if they are not satisfied with him." The foot-
prints at the entrance indicate that the man who entered impersonated
the bear. The candidate sits next to the eastern entrance; beside
him are the leader and the oc'kabe'wis. The four initiators sit near
the western entrance, on the north side of the lodge; their position
is, however, not arbitrary. Along the sides of the lodge sit the mem-
£
tf?%
E »
4
JP
■: ^t *
4- W
Fig. 4. Diagraj
showing arrangement of MIde'wIgan during initiation ceremony of first degree.
(Drawn by the elder Maifi'ans.)
bers of the Mide'wiwin. A fire burns near each entrance. The stone
near the eastern entrance is shown, also the medicine pole and the
pile of gifts beside it. The figure east of the pole shows the second
position taken by the candidate for initiation; the dot west of the
stone is where the drum is stationed during the initiation; the two dots
east of the stone show the position of the drum after the initiation,
at which time it is played by the old leader and the oc'kabe'wis; the
four dots near the center of the lodge represent mi'gis and will be
explained later. (See p. 48.)
The following song is sung after all are seated.
No. 8. Introductory Song (Catalogue no. 55)
Sung by Be'cigwi'wizans
Analysis. — The tempo of this song is even more rapid than the
preceding, the metric unit being the entire measure. It is based on
the major triad in the upper and lower octaves, with
U^4jjjA the sixth as a connecting tone, the sixth being more
prominent than in most songs of similar harmonic
structure.
After this song the invitation sticks are collected,
counted, tied in a bundle and laid at the foot of the
medicine pole.
Song picture
No. 8. The
gifts are again
shown.
40
BUKEAU OF AMERICAN ETHNOLOGY
[BULL. 45
Next a feast is served, each person receiving his or her portion in
the pan brought for that purpose. At this feast the dog is served;
portions of rice or other food may be carried away but it is required
that all of the dog be eaten in the lodge.
Voice J -84
Recorded without drum
fl fl fl fl -'■
«=t
£
* -s> .
E=BJEPJ^IiB|
i§g!
A - i -gwu gi - wi - nil -de - wi - i - go ni - kan a - i -gwu
EHES3SE£
|3JifeE4iE££4T=P=m
• — m — &- &
gi - wi-uri - de - wi-i-go ni - kan a - i -gwu gi-wi-mi - de
i^^^^m^^^^^^^
i2=^ — i — ^ — M=z LI I i | -fz±t
wi-i-go ni - kan a - i-gwu gi-wi-ini-de -wi-i-go ni - kan.
AigwiY We are now
Giwi'mide'wiigo' To receive you into the Mide'wiwln
Nikan/ Our Mide' brother
Halfway down the lodge sit the za'gimag', whose faces are not
painted.
The leader then dances around the lodge carrying the miti'gwakik'.
He moves along the curves indicated in the diagram (fig. 5). After
N
Fig. 5. Diagram showing course followed by leader during initiation ceremony of first degree.
encircling the lodge he leaves the miti'gwakik' in front of the two
za'gimag', who begin to sing the ni'miwug' (dancing songs), during
which any persons wTho wish may rise and dance in their places.
There are a large number of these dancing songs and they are
greatly enjoyed by members of the Mide'wfwln.
Main'ans, the younger, stated that he sang the following song when
he was a za'gimag'. The words contain a reference to water. This
reference occurs frequently in the Mide' songs; it will be noted that
the water is usually represented as in action — bubbling, flowing,
seething, or casting up the white Mule' shells.
CHIPPEWA MUSIC
41
No. 9. Song of the Za'gimag' (Catalogue no. 242)
Sung by Main'ans
Voice J— 120
Drum J— 120
( Drum-rhythm similar to No. 1 )
>- -#- +
o ho ho ho ho ho ho ho
wac - ke - a - bog
mttmmm^m^^m
ni - wa- ha-ha - wac-ke - a - bog o ho ho ni-wa-a-ac-
a -bog o ho ho ni-^
ke - a - bog o
dji-dji-wiifi e lie he
dji- dji-wufi
- wac-ke -a -bog o ho ho ni
WORDS
Niwa'wacke'abog' A bubbling spring
We'wendji'djiwmV Comes from the hard ground
Analysis. — This song is an excellent example of the manner in which
ejaculations are interpolated into the Mide' songs. In portions
of the song the rhythm is rigidly maintained. For instance, in the
measures containing four quarter notes these notes are of exactly
the same length, and the difference between the 3-4
and 4-4 measures is unmistakable, but in the fifth and
sixth measures, where there is a repetition of the syl-
lables, the rhythm is irregular.
The pulse of the drum is absolutely regular through-
out. The peculiar succession of measure lengths gives
an appearance of great rhythmic irregularity, yet the
metric unit of the quarter note is, with the exceptions mentioned,
quite regularly maintained.
Song picture no.
9. The course of
the stream is
shown.
42 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
Other examples of the ni'miwug are given at the close of this
chapter.
The za'gimag' then carry the miti'gwakik' around the lodge and
place it west of the stone, where it remains during the rites of
initiation.
The leader then encircles the lodge four times, with right hand
extended, left hand shaking the rattle, and head bent forward; this
being finished, the oc'kabe'wis takes down the gifts from the place
where they have been hung; the blankets are folded and laid at the
foot of the pole, care being taken to have them placed in the proper
order for distribution, the other gifts being conveniently placed on
the ground.
The person to be initiated is then escorted to the pole by the
leader, moving along the dotted lines indicated in the diagram (fig. 6).
© r» ; ^
r-
E #
i r
N
Fig. 6. Diagram showing course followed by candidate, escorted by leader, in dance at MIde'
initiation ceremony of first degree.
He moves slowly at first, then very rapidly, ejaculating hi hi hi, and
shaking his rattle.
The candidate is seated on the pile of blankets at the foot of the
pole, facing the east.
While escorting the candidate to the pole the following song may
be sung:
No. 10. Escorting the Candidate (Catalogue no. 237)
Sung by Main'ans
Analysis. — This song was sung three times, the transcription being
from the third rendition; the others are identical in the pulse of
measure beginnings and the outline of intervals, but vary slightly in
unimportant note values.
This song is a particularly good example of a feature which char-
acterizes the Mide/ songs and which has a direct bearing on the
problem of musical development. The unvarying portion of the
song is the pulse of the measure beginnings, which is uniform in all
the renditions, while the pulse of the "counts" in the measures is not
mechanically regular and more nearly resembles the rhythm of cere-
monial speech. This suggests the possibility that the transition from
CHIPPEWA MUSIC
43
ceremonial speech to song may be by the adoption of large rhythmic
pulses which are first made absolute, the rhythm of the intervening
portions being less rigidly controlled and retaining the character of
ceremonial speech.
Voice ^ . — 54
Drum J —92
( Drum-rhythm similar to No. 1 )
-•_ -*-•-#- -# • -0- -»-'-m- -0-
Mi-de-wi-ga - a-an gi-wa -ni - no - so he he he he ni
E£ee?=E=£
Sife
m
ka - a-an gi-wa-ni-no
ho ho
wa-ni-no - se he he ni-ka - a-an gi
wa - ni - no - se.
WORDS
Nikan' Our Mide' brother
Gi wa'ninose' You are going around
Mide'wigan The Mide' lodge
The rhythm of the drum is mechanically regular and
its metric unit has no relation to that of the voice.
After escorting the candidate to the pole the leader
summons the men previously selected to perform the
rites of initiation. These men move along the northern
side of the lodge and take their places at the south side
of the eastern door, the man designated as ne'mlta'mauiY
being first in the line and the man designated as we'daked'
being last. Each of these men has a mi'gis (a small
white shell used in the Mide') in his mouth. The ne'iru-
ta'maun' then blows on his medicine bag and dances,
standing in his place. He then walks toward the candi-
date, ejaculating we ho ho ho ho! and extending his medi-
cine bag with each ejaculation. As he reaches the can-
didate he "shoots" him, thrusting the medicine bag
toward him and ejaculating with great vehemence. It
Song picture no.
10. The candi-
date for initia-
tion is seen ap-
proaching the
medicine pole.
The branches of
the sapling are
here shown in
the drawing,
though they are
cut when the
pole is in use.
In this connec-
tion they sym-
bolize the life of
the tree. (Com-
pare drawings of
songs nos. 44
and 55.)
is difficult to
44 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
describe this ejaculation, which is not loud but very forceful, with a
peculiar throbbing tone. It is exceedingly impressive, and the hearer
can not fail to realize that the entire power of the speaker is being
projected toward the person under treatment, whether that treat-
ment be intended to remove some inner defect, as in the Mkle'
ceremonies, or to cure some bodily ailment, as in the treatment of the
sick.
When the ne'mita'maufi' "shoots" the candidate for initiation
the man is said to feel the force of it in some part of his body and in-
dicates his responsiveness by laying his hand on his shoulder, knee, or
whatever part may be affected. The ne'mita'maufi' then passes along
the northern side of the lodge and takes his place at the end of the line.
The mannexttohim does precisely what he has done, and is followed
by the others, who in turn take their places at the end of the line.
After each "shooting" the candidate indicates in what part of his
body he feels the effect.
This "shooting" draws heavily on the resources of the person
performing it and is very exhausting. A man often calls upon his
brethren to assist him. They do not leave their places but are
expected to exert their power in his behalf. A woman frequently
finds herself unequal to the exertion, although she has been ap-
pointed one of the initiators. In that case she may ask a man to take
her place by doing the more exhausting portion of the work. She
breathes on her medicine bag and hands it to him for his use.
They move forward together, he walking close behind her, uttering
the ejaculations and moving the medicine bag in the prescribed
manner.
Before the we'daked', or the last of the initiators, moves toward
the candidate, he may turn to the leader and say, "Now I will stir up
the spirit that is in me ; I will stand and dance and I ask your assist-
ance." He then dances in his place. In his hands he holds all
four of the medicine bags and breathes on them that the power
may be intensified to the greatest possible degree. He extends his
right arm to its full length and moves toward the candidate,
raising the medicine bags and bringing them down with the force
of a heavy blow as he ejaculates wa a hi hi hi wa a hi hi hi!, throwing
all the strength of his being into the motion and the rhythmic sound.
Slowly he moves forward. It is the climax of the entire ceremony
and the members of the MMe'wIwm wait in tense silence until the
candidate falls prostrate on the ground, overcome by the "spirit
power" of the initiators.
The following is an example of the song sung at this point in the
ceremony. Other examples are given at the close of this chapter. A
large number of these songs is available; the selection is made by
the leader of the ceremony.
DEN* SMOKE]
CHIPPEWA MUSIC
45
No. 11. First Initiation Song (Catalogue no. 61)
Sung by Be'cigwi'wizans
Voice ,»? = 44
Drum J = 96
( Drum-rhythm similar to No. 1 )
-&- -o- -0- -•- ■*- m -m- -•- -•- -*-
Wa sin-don-di-na -wa ha ni-kan i na wa sln-don-dl-na
-P- a r-P— •— • 0 — . f " f f £'—*—r-fs f2"
wa ha ii i - kan i na wa sm -don -di-ua - wa ha
• •— =-r-* f-
agn r i na
II
ni - kan i na wa sin-don-dl - na - wa ha ni - kan i na
Interpolation
1st rendition, after 6th measure
&g^EEg=^g
hi
2d rendition, last measure
B?=£
t^F
ioa hi hi hi hi
3d, 4th and 5th renditions, last three measures
J -=44
3 , — — 3-
§i±S
■19 • — • — • <9 <9 • — • — • (9 <9 • — • — • <9-
hi hi hi hi hi hi hi hi hi hi hi hi hi hi hi
Wasu' From a long distance
Nindon'dinawa' I am shooting
Nikan' My Mlde' brother
Analysis. — This song is sung during the actual
"shooting" of the candidate and presents an exam- song picture no. n.
pie of the combination of song and ejaculation which is used at this
portion of the ceremony. Six renditions of the song are on the pho-
nograph record and the interpolated syllables differ in the successive
46
BUREAU OF AMERICAN ETHNOLOGY
renditions. In order to make this clear, the transcription of the
song is followed by a transcription of these syllables. The metric
pulse of the measure beginning is maintained throughout the ejacu-
lations, although after the second rendition these syllables are given
in triple time. This shows the pulse of the measure beginning to be
clearly established in the mind of the singer. There is no relation
between this and the metric unit of the drum.
After being "shot" by the we'daked' the person who is being
initiated falls prostrate on the ground with arms extended. While
he lies on the ground the four initiators gather around him, place
their medicine bags on his back, and sing the following song:
No. 12. Second Initiation Song (Catalogue no. 62)
Sung by BE'ciGwi'wrzANS
Voice J = 72
Deum J —92
( Drum-rhythm similar to No. 1 )
ozm
mn
-I— ) — UJ-=1
Hi wi - ii a-
hi hi wi-na-ke ni hi wi-na-ke ni
hi hi wi-na-ke ni hi wi-na-ke ni hi ft£-wi - ua- ke ni
-• — £ — e — _ i _ r— r- J —
Sg£££EB^4
-*—*
s
i=rt=t=
izntz^zfist
hi wi - na - ke ni hi hi wi - na - ke ni hi wi- na - ke ni
WORDS
Wa/wina/ke I have shot straight
Analysis. — This melody begins on the fifth of the key and ends on
the fifth, having a compass of one octave. It contains only the tones
of the minor triad and the fourth. There is no relation between the
metric unit of voice and drum.
Following this song the four initiators raise the
candidate to a sitting posture and a mi'gis comes
from his mouth. One of the initiators then takes
the mi'gis and walks once around the lodge. Paus-
ing near the candidate, he breathes on the mi'gis
and extends it toward the east, breathes on it
again and extends it toward the south, repeating
the process and extending the mi'gis toward the
west, north, and the zenith. This being done, the mi'gis is said to
disappear again into the body of the person being initiated, who falls
Song picture no. 12.
;xsmore]
CHIPPEWA MUSIC
47
prostrate as before. While he lies prostrate one of the initiators
fastens on his back a medicine bag corresponding to the degree he
has taken. In the first degree this bag is made of the white skin of a
weasel. The initiators then raise the candidate to his feet and with-
draw to the eastern end of the lodge, the following song being sung:
No. 13. Third Initiation Song (Catalogue no. 63)
Sung by BE'ciGwrViZANS
Voice J -80
Drum J -96
(Drum-rhythm similar to No. 1)
Ha bi - mi - ma-dwe
de - wi yan
„ a f: f~ -T-& , *-= "£ — r-f • a — rm s 1
-R-i — r — ^— ^ — — v — — f — r p ~r —
1 ^ ■ — >
mi - ma - ha - dwe
li - mi - de - wa - yan e bi -
mi ma - ha - dwe - we
ni - ml - de - wa - yan
Bi'mimadwe'we There comes a sound
Nimkle'wayan' From my medicine bag
Analysis. — Beginning on the twelfth and moving freely along the
descending intervals of the fourth five- toned scale, this song is purely
harmonic in character. It begins on the unaccented
portion of the measure and contains few interpolated
syllables.
After this song the person who is being initiated takes
his medicine bag and goes toward the four initiators,
"shooting" first the we'daked', who sits down. After
encircling the lodge he "shoots" the next in line, and so
on until all are seated, the lodge being encircled after
the "shooting" of each man.
When all are thus seated the person being initiated takes the gifts
on his arm and presents the proper articles to the leader, the initia-
SONG PICTURE
NO. 13.
48 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
tors, and the oc'kabe'wis, personally thanking each for his share in
the ceremony.
It is considered that after the distribution of these gifts the candi-
date is fully initiated.
The next event is the showing of their mi'gis by the four men who
have performed the initiatory rites. The leader requests them to do
this. A blanket is spread on the ground east of the medicine pole,
and a man is appointed to stand beside the blanket and receive the
mi'gis. (Fig. 4 shows four mi'gis laid in the position indicated.)
The ne'mita'maun' leads the line of initiators. As they approach
the blanket each man in turn makes a rasping noise in his throat and
takes a mi'gis from his mouth. These shells are received by the man
appointed, who lays them in order on the blanket. When all the mi'gis
have been deposited there the ne'mita'maun' looks along the line to
see that all are ready. The men are watching him, and at his signal
they all replace the mi'gis in their mouths with a uniform motion.
After showing the mi'gis the initiators return to the mltl'gwaklk'
and sing together. The ne'mita'maun' holds the stick and plays
the drum first, the others shaking their rattles. Then he hands the
stick to another of the group, and so on until all have played the
drum. Four cici'gwan (rattles) are used in this portion of the cere-
mony, no two having exactly the same tone. (See pis. 1, 2.)
The mitl'gwakik' is then removed to a position between the stone
and the eastern entrance (see fig. 4) ; the leader takes his place at
one side of it and the oc'kabe'wis at the other, the leader pounding
the drum and the oc'kabe'wis shaking a rattle. When they begin to
sing the members of the Mlde'wiwln sitting on the south side of the
lodge spring to their feet, advance toward those on the north side,
and "shoot" them with their medicine bags. The latter fall insensi-
ble, but in a short time recover consciousness and advance toward
those now seated on the south side, "shooting" at them with their
medicine bags. These in turn fall insensible, and the "shooting" is
continued until all present have been "shot" with the medicine.
This ceremony of initiation usually lasts until late in the afternoon.
Meantime food is being cooked outside the lodge and when the
"shooting" is finished this feast is served and anyone who likes may
freely enter the lodge. This is the social feature of the event. Only
members of the Mlde'wiwln are present at the initiation, but all
the members of the tribe may share in the feast and the dance
which follow. The nature of this feast is not prescribed. The dog
was a feature of the ceremonial feast which took place in the early
part of the ceremony. Food for this feast is provided by various
members of the tribe and a portion is usually carried home by each
person. According to custom, the old men are served first.
The following song is sung when the food and tobacco are brought
in and placed before the leading members of the Mlde'wiwln:
DENSMORB]
CHIPPEWA MUSIC
49
No. 14. First Song of the Feast (Catalogue no. 65)
Sung by Ki'tcimak'wa (" big beau ")
Voice & — 69
( Recorded without drum)
ni - kan- fig i hi nin - da - ca- m i-gog
9t^=^=JE|gj=j^=^^jg
ni - kan
he
^^^^m=^M
^
ni - kan ca - mi - gog
e he na ni-k&n-ug
e e nin-da- ca-mi- gog
he ni - kan-ug
hi na
Nikan'iig My Mide/ brethren
Nin'daca'migog' Have given me this feast
Analysis. — This is a particularly free melody, begin-
ning on the second, ending on the fifth of the key, and
having very little feeling for the fundamental chords of
the key. The intonation usually falls on the second of
two similar tones. The rhythm of the song is peculiar,
the first five measures constituting a rhythmic unit.
The repetition of this unit is regular throughout the
song. A rhythmic unit regularly repeated suggests that
a rhythmic idea or impulse may be the nucleus of the
musical composition. It is of interest therefore to
note the occurrence of the rhythmic unit in this series of songs
After the feast is served the following song is sung :
12692°— Bull. 45—10 4
Song picture
no. 14. A
hand is shown
bestowing the
feast, which
the singer
stretches u p
his own hand
to receive.
50
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
No. 15. Second Song of the Feast (Catalogue no. 66)
Sung by Ki/tcimak/wa
Voice J =76
Recorded without drum
Ca - we - ni - nii - wa - ad ni - lean - tig e he he ca -
we-ni-mi-wa - ad ni - kan-tig e he he
sa^£^
x=t
*g-i i ' r kJ-^j^-F— p
r=P=
ZitZTt
we-ni-mi-wa -ad ni-kan-ug e he he ca - we-ni-mi -wa -ad ni-
kan-u
kan-ug e
Cawe'nimiwad' I have received great kindness
Nikan'ug From my Mide/ brethren
Analysis. — The phonograph record shows an interesting feature
of this song which it is impossible to transcribe. On the second and
third counts of each measure the tone is sounded
slightly before the proper time, giving a peculiar
effect of rhythmic irregularity. This may be due
to the fact that no drum was used and that the
drum is usually struck slightly before the metro-
nome time. The voice may have unconsciously
imitated the drum in this respect.
The joyful character of this melody presents a
contrast to the serious ceremonial songs which pre-
cede it. The tones are those of the fourth five-
toned scale and the song is distinctly melodic in
character.
After the feast is finished the men who have
received gifts carry them to their own lodges with
their portion of the feast; later they return to join in the dance,
which is of an entirely social nature. At this dance a man may sing
Song picture no. 15.
The Mlde'wlnl'nl
holds in his hand the
blankets and other
gifts which he has re-
ceived from the per-
son initialed.
DHNSMOEB] CHIPPEWA MUSIC 51
his favorite "medicine song" and any others who know the same
song may rise and dance. A great variety of Mlde' songs are used
at this final dance.
When it is time for the company to disband, the four initiators
stand together at the southeast corner of the Mide'wlgan, the ne'nn-
ta'mauif at the head of the line. The music is very lively and
everyone is in the best possible humor. The initiators are the first
to leave the lodge, dancing out at the western door, followed by the
company and the newly initiated person, the leader being the last to
leave the lodge. The person who has been initiated takes with him
the medicine pole and the stone, which are his personal property;
these he carries to his lodge and makes a feast in their honor. After
the feast he takes both the pole and the stone to some secluded place
in the woods known only to himself. There he often goes, keeping
the place clear of rubbish and undergrowth. The stone remains there
always, but the pole may be removed by its owner for use in future
ceremonies.
The person who has been initiated also retains as his personal
property any songs which he can remember from hearing them
sung during the ceremony, it being considered that his gifts to the
leaders are sufficient to entitle him to these without further payment.
Each of the men who assisted at the initiation ceremony and
received gifts is expected to make a feast after the ceremony and
invite the newly initiated. At this feast he gives the newly initiated
the mi'gis which he exhibited at the ceremony. Thus the initiated
receives one mi'gis from each of the men who assisted at the . cere-
mony. These he keeps in his Mide' bag, adding from time to time
such medicines as he has learned to use.
Ceremony for a Dying Chief
An opportunity for the writer's personal observation of this cere-
mony occurred in July, 1907, at Leech Lake, Minnesota, during the
last hours of Nig an' mines' ("leading bird of prey"), the hereditary
chief of the Pillager band of Chippewa. Nigan'ibines' was son of the
famous chief Flat Mouth and was always known bj7 his father's name,
which is used therefore in this description of the ceremony.
After the agency physicians in consultation had concluded that the
old chief could live only a short time, he asked and was granted permis-
sion that a Mide' ceremony be held in the hope of prolonging his life,
or at least of making his last hours more comfortable. Accordingly
preparations were begun and a man named Na'joi'se ("two persons
walking ") was selected as oc'kabe'wis, or herald. It was decided also
that the leader of the ceremony should be Ge'miwunac' ("bird that
flies through the rain"), the oldest Mkle'wlnrnl on the reservation,
52 BUREAU OF AMERICAN ETHNOLOGY [boll. 45
almost totally blind, but supposed to be very powerful (see pi. 9).
Invitations were sent to eight members of the Mide'wlwm. These
invitations were in the form of round sticks, about 5 inches in length.
Each member brought his invitation-stick with him, and prior to the
ceremony the sticks were tied in a bundle and laid on the ground at
the foot of the medicine pole.
For several days before the ceremony the Mlde'whil'nl sang with
the Mide' drum in Flat Mouth's wigwam. The singing was also con-
tinued at intervals throughout the entire night. The ceremony took
place on the afternoon of July 24, 1907. Early on the morning
of that day a Mide' lodge was made and Flat Mouth was taken
from his wigwam, carried thither, and laid upon a bed of boughs
shaded by small birch trees stuck into the ground. The inclosed space
was about 60 feet long and 20 feet wide, with rounded corners. At
the openings, at the east and west ends, blankets were hung between
tall poles. The inclosure was formed of pine branches stuck into the
ground and woven together, forming a barrier about 3 feet in height.
Flat Mouth was laid in the place of honor at the south side of the
eastern entrance. A medicine pole was erected in the center of the
lodge about 20 feet from the eastern entrance, and between this pole
and the entrance were located a fire, and a kettle in which a dog
was cooked.
The ceremony was given according to the fourth degree, which
was the degree held by Flat Mouth. The decoration of the pole cor-
responded to this degree.
In the morning six members of the medicine party entered the
lodge, one of whom sang; he was evidently in charge of this part of
the ceremony. The songs were unaccompanied, the rattle being
used by him while marching and while " treating" Flat Mouth. The
rattle was similar to that shown in plates 1 and 2.
After each song the leader led a procession around the lodge, shak-
ing his rattle and ejaculating Wa hi hi hi hi', Wa hi hi hi hi'. Behind
him came a woman with food in a pan, then a man with a rattle, then
a woman, then a man and a woman, each with food in a pan. After
circling the lodge several times the party stopped at the eastern
entrance and the leader made a speech, to which the others frequently
answered ho'. Then the leader walked before Flat Mouth, shaking
his rattle at arms, limbs, and body with ejaculations of ho ho ho'.
This continued during the morning.
In the afternoon Flat Mouth was laid upon a bed of boughs in the
center of the lodge, west of the medicine pole. At this time the
ceremony proper took place, under the direction of Ge'miwunac',
while Na'joi'se continued to act as herald and another member of
the party took charge of the cooking of the dog.
densmoek]
CHIPPEWA MUSIC 53
The members of the medicine party were in the center of the
lodge, the relatives and friends of Flat Mouth being seated along the
sides of the inclosure. At the opening of the ceremony Flat Mouth
was carried several times around the inclosure on his green blanket
and laid gently upon the bed of boughs.
Then a man from Pine Point said he wished to brew a medicine
of his own for Flat Mouth. He told of the virtue of this medi-
cine and said that it might not cure Flat Mouth but he believed
that it would make him more comfortable. He said that the secret
of this medicine was given him in a dream as a boy; that the prin-
cipal ingredient was part of a large animal which he saw in his dream,
and that he always carried this ingredient in his medicine bag.
The consent of Flat Mouth being secured, the man proceeded to
brew the medicine. As he did this, he gave the ya a hi', a hi, a hi, hi
hi hi hi, so frequently heard in the Mide'. He was joined by another
voice, beginning about a fourth higher and sliding down to a unison.
When the brewing of the medicine was completed Na'joi'se took
' the steaming cup and carried it five times around the old chief; then
he gave the cup to Flat Mouth, who drank the medicine.
This was followed by a ''prayer to the medicine pole," interrupted
by frequent ejaculations of he he he.
Then the feast was served. This consisted of the cooked dog,
with the broth. It was required that all of this be eaten in the
lodge. There were also bread and wild rice, portions of which were
carried away by the guests at the close of the ceremony.
Each member of the medicine party carried a medicine bag, cor-
responding to his degree in the Mide'wiwin. The members now stood
in a circle around the chief and each in turn sang a song, after which
they marched once around the inclosure. The first few songs were
without accompaniment, while the others were accompanied softly
by the Mide' drum. There was a marked individuality in the songs,
suggesting that each person may have been singing his special medicine
song. Next the members of the party, each chewing his own medi-
cine, marched around the dying chief, and spit into a box of sawdust
at his feet. A man then stirred this mixture, which was rubbed on
the soles of Flat Mouth's feet. Each member also laid a pinch of it
on his body.
Following this, each of the medicine party sang a song and marched
around the chief, "shooting" his medicine bag at him.
Then all marched around the chief, carrying Mide' shells in their
left hands. Each person laid one shell on the chief's body in pass-
ing, and after circling his body took up the shell again. These shells
were similar to the mi'gis mentioned on page 48.
By this time the old chief was failing so rapidly that it was deemed
advisable to carry him into his wigwam. This was done, the men
54 BUREAU OF AMERICAN ETHNOLOGY [boll. 45
bearing him gently on his green blanket. Then they sang in his
lodge. Instead of the Mide' drum they used the sharp, thin, doctor's
drum and two rattles. The songs were different from those previously
used, and of a melancholy cadence, the interval of the sixth being
flatted.
Two hours later Flat Mouth died, his death being announced by
twenty rifle shots. This is the custom of the tribe, a few shots
announcing the death of a child and a larger number that of an
adult. As is customary with the tribe, the body was immediately
arrayed in the best apparel and ornaments of the deceased; beside it
were laid his pipe, fan, and rifle, also a cushion with a woven cover.
In the early evening the ceremony was concluded briefly, as few had
the heart to dance. Flat Mouth's widow sat next the eastern en-
trance, where he had lain that morning, and the dancers "shot"
their medicine bags at her as they passed. The chief's sister held
a Mide' shell in her hand and frequently extended it toward Flat
Mouth's widow, who breathed on it, whereupon the sister danced again
around the drum.
The Mide' drum used on this occasion was decorated in black,
with a border at the base consisting of a broad band and four deep
points. This was said to represent the pointed top of the Mide/
inclosure. Above this was the recumbent figure of an animal similar
to that shown in the drawing of song no. 94 (catalogue no. 1). The
top of this drum was of tanned deerskin, held tightly in place by a
hoop wound with cloth. The singers stood and held the drum by
the corners of the leather which formed the top. Occasionally the
widow of Flat Mouth rose and, taking hold of a corner of the leather,
stood silently and sadly beside the singers a few moments. There
were usually four singers at the drum, one after another acting as
leader; each pounded on the drum. One or two rattles were also
used.
At the close of the dance the medicine party went to their respec-
tive lodges, each carrying a bundle of small gifts. All that night the
sound of the Mide' drum and the monotonous singing were heard.
The next morning the Mide'wini'ni conducted what corresponded
to a funeral ceremony. The lodge was tightly closed, but the voices
could be plainly heard. The leaders were rehearsing the beliefs of
the Mide' and assuring the family of Flat Mouth of their reality.
Then they addressed the spirit of the dead chief, as it is believed that
the spirit lingers near the body until burial. One after another they
sat beside him, telling him to be careful to avoid certain turns in the
road to the Spirit Land, or to trust certain spirits who would meet
and assist him. They spoke with extreme rapidity, punctuating the
words with occasional sharp beats on the drum.
DE'BWAWEN'DUNK
jsmoee]
CHIPPEWA MUSIC 55
At the conclusion of this ceremony the writer was permitted to pho-
nograph the dead chief. (See pi. 7.) On entering the lodge, the medi-
cine party were found eating the funeral feast, which consisted of fruit,
cakes, bread, and rice. The body of Hat .Mouth was concealed by a
curtain of white cloth. When the feast was concluded several photo-
graphs of the dead chief were taken, the upper coverings <>f the wig-
wam being removed to admit the light. Immediately afterward
the body was lifted on its green blanket and laid in the casket,
which was the best that could be purchased at the neighboring town.
Beside it, in the casket, were placed the fan, pipe, war bonnet,
and cushion. The fan consisted of an eagle wing decorated wTith
dots of red in a design which belonged especially to Flat Mouth,
being used by him alone. The cover of the cushion was a bag woven
of yarns. This weaving of a bag without a seam is becoming a lost
art among the Minnesota Chippewa.
A long procession followed the body of Flat Mouth to the "heathen
cemetery," a village of low wooden shelters above the graves. There
was no ceremony of any kind when the casket was lowered . The grave
was dug very large and almost circular in shape. Visiting the spot a
few months later, the writer found that a pointed wooden house had
been erected over the grave, according to the custom of the Chippewa.
The name Nigan'Ibmes' was painted on a narrow board placed on the
peak of the roof, and beside the grave floated an American flag.
Songs for Initiation into the Sixth Degree
Sung by De'bwawenVjxk
The songs of an initiation ceremony differ with the degree which
the person assumes, each degree having its special songs. The fol-
lowing songs given by De'bwawen'dunk0 (pi. 8) are those used when
initiating a member into the sixth degree.
Before singing the first song De'bwawTen'dunk made a short speech
in Chippewa, speaking to the four Mlde' manido', explaining that he
was not going about the city belittling their religion, and begging
that they be not offended because circumstances made it impossible
for him to smoke the customary pipe before singing. This speech
was recorded by the phonograph.
The singer stated that if these songs are to be sung in private or at
a small gathering the men lay down their medicine bags, as they are
to "sing to the bags." The man who is to sing the first song fills
his pipe and smokes it; then he calls on the four Mlde' manido', who
live in the four ''layers" beneath the earth. One song is sung by
each man.
a An old man from the Bois Fort reservation, a most devout adherent of the Mlde'. These songs were
recorded at Washington, D. C, whither De'bwawen'dunk had come with an interpreter on business
connected with tribal affairs. The translations were given by his interpreter, Rev. Frank H. Pequette.
56
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 16. First Song (Catalogue no. 122)
Voice J — 144
Drum J =144
( Drum-rhythm similar to No. 1 )
-#- -•- -•- -•-. -•-•
S3
=u3EE
a
-0- .0.
Dji-ca- wa - he - ni - mi - hi - gog ho ho ho ho ho
^m&m&^m^^^^m
ni - hi - kSr-h&n e he he
dji-ca - we-Ae-ni-mWu-gog ho ho
e-na-we-Ae- bi-wug hi go
ho
ni - hi -ka-han e he he
^=F
r=F
IHH
4=n
*— *— *
--
« #
mum:
*-*-*-
Ao ho ni-kan
e /«e Ae
e - na - we - he-ni - bi-wug e he
m^
ES3E^S&E=EBBE^iEEEEE^H
IS
-f^
ni-kan e he he di-bi-sko-Ao-ka-mi - is
e he he e he he
m^^^M^mm
ni-Zu-ka-kane fte Tie
ga-ca
we - 11 1- mi-wfi-fisr e he he
S
Djicawa'nTmigog I am blessed
Nikan'ug My MioV brethren
Di/bicoka/mIg By the four Mide/ spirits
Ena'biwilg' Who live in the four layers
Ga'cawe'nimlwug' Of the earth
Analysis. — This song abounds in the inter-
polated syllables which characterize the Mkle'
songs. The measure lengths are irregular and
their succession appears erratic. However, two
records of the song were made, an interval of
about a week elapsing between the making of
them; on comparison it is found that the rec-
ords are identical in every respect, except that
in the measure marked X the second rendition
shows the syllables ho ho on the second count.
This change is very slight, but as it is the only one which occurs, it is
Song picture no. 16. The
singer gave the following ex-
planation of this drawing:
"The circle is the earth.
These three people live in
the fourth layer under the
earth; from there they sing.
This is a sixth degree song
and so the people who sing
it live in the fourth layer
under the earth."
CHTPPEWA MUSIC
57
worthy of mention. In this as in other Mide' songs the pulse is not
mechanically regular and the same variations are found in the second
as in the first rendition. This variation usually consists in a very
slight prolonging of the accented tones. This song and the succeed-
ing song contain syncopations, which are extremely rare in the Chip-
pewa songs.
No. 17. Second Song (Catalogue no. 123)
Voice J .— 72
Drum J= 126
(Drum-rhythm similar to No. 1 )
£-" f~ .~F~ P. 0 rS> •— !-• • •— 1— ^ —0-
Wen-dji - mo - ki - yan e
r^ — • — •-
e e wen-dji - mo -
ho - ki - yan
e he he wen-dji- mo -ki-yan e he he wen- dji-mo - ho- ho -ki-yan
^P-a— •- — •— •- i-f — • — »
f-r~r -n — ^f=^=4
^r=E
Tie Ae . wen-dji -mo- ki - yan e /te Tie wen-dji - mo - ho
ho - ki - yan e na-wo-kuin-i-gan a ge he he wen - dji
m^mmmm^m^mtm
Nawo'kumigan' In the center of the earth
W'fi/djimo'kiyan' Whence I come
This and the remaining songs of the set were recorded a few days
later than the first song. At this time tobacco had been provided,
which the old chief smoked in silence. When he
was ready, he seated himself before the phonograph
and again made a speech, translated as follows:
I am not doing this for the sake of curiosity, but I have
smoked a pipe to the Mide' manido' from whom these songs
came, and I ask them not to be offended with me for singing
these songs which belong to them.
Analysis. — This song is of unusually small com-
pass, and it is interesting to note the drop of a
minor third to D with a return to the tonic F.
This is rare in the Chippewa songs recorded, but has been noted in
other primitive music. In this song the metric unit is the measure,
the pulses of the parts of the measure being less uniform and regular.
The song closely resembles a chant.
Song picture no. 17.
The "center of the
earth" is plainly indi-
cated in the drawing.
58
BUREAU OP AMERICAN ETHNOLOGY
[bull. 45
No. 18. Third Song
Voice J — 96
Drum J =152
( Drum-rhythm similar to No. 1)
(Catalogue no. 124)
Nin - go - ho - sa ha ha run -go - ho - sa nin - go - ho
sa ha ha nin -go- ho - sa nin
ho - sa nin - go- sa nin- go -
Pr^-^^^M^^^^
-sa nin-go-sa nin-go-sa nin-go-sa ni - gi
WORDS
Ningo/sa I am afraid of
Nikan' My Mide' brother
Nigiwam'm In my lodge
E'bld Who dwells
Analysis. — The chief musical interest of this song lies in the fact
that the first word is variously accented. We find the musical accent
falling on each of the three syllables. In all Mlde' songs the words-
are subordinate to the music, a peculiarity which is well illustrated
in this instance. The beginning of the song on the
-^—-T \ unaccented portion of the measure is somewhat
unusual.
The remaining songs of the series are given in out-
line instead of full transcription. This shows the
trend of the melody, but does not indicate either the
rhythm or note values. The metronome indication
which precedes the songs has no reference to the sym-
bol as written, its only purpose being to show the
metric unit of the voice and of the drum, for the pur-
pose of comparison.
The beat of the drum is almost uniform through-
out the series, being in unaccented strokes, two of which are equiva-
lent to the metronome beat 126 or 132. Thus by metronome test there
are approximately four pulses of the drum to one of the voice, but
this correspondence is not evident to the ear. The relation between
the two is not accurate, for the rhythm of the voice varies, while the
drum does not vary, being entirely independent of the voice.
Song ticture no. 18.
The Mlde' lodge and
the person to be ini-
tiated are shown.
DENSMOBE]
CHIPPEWA MUSIC
59
The words of the songs are continually broken and separated by
the syllables hi hi hi, which occur even more frequently than in the
initiation songs of the lower degrees.
Only two of these songs are of minor tonality. One of these, no. 1 9,
is interesting in that the singer began the last half slightly too high,
thus changing the key from C minor to C sharp minor. The relations
of the tones in the last half are well sustained.
In this series we find three songs containing the tones of the major
triad with the sixth added, two instances of the octave complete
except the seventh, one instance of the octave complete except the
second and seventh, one instance of the octave complete except the
fourth and seventh, and two songs of minor tonality.
Musically, the chief value, of these songs lies in the relation of voice
and drum and in the peculiar ending of the songs. Compare these
songs in this respect with the melody outline of songs nos. 25-34. It
will be readily seen that the latter have a much stronger feeling for a
definite close either on the tonic or with the tones of the tonic chord.
An indefinite manner of closing a song may be considered character-
istic of a primitive stage of musical culture.
No. 19. Fourth Song
(Catalogue no. 125)
Voice without perceptible metric unit
Drum 1— 126
;§S
^
•=ZJF
as
§•
II
WORDS
Awe'nen -- - - Who is this
De'wene' Sick unto death
Bema'djhlg' Whom I restore to life
The words of this song refer to the person who is being
initiated. Many sick persons are initiated in order
that they may be restored to health. The Mide' com-
prehends health of body, mind and spirit in one general
idea. It is supposed to benefit the individual as a whole
and the lines of demarcation between his various needs
are not sharply drawn.
SONC, PICTURE
no. 19. On
the body of
the person to
be initiated
are seen lines
represent-
i n g the
"strength"
he is to re-
ceive through
the Mide'.
60
BUREAU OP AMERICAN ETHNOLOdV [bull. 45
No. 20. Fifth Song (Catalogue no. 126)
Voice
Drum J— 132
( Drum-rhythm similar to No. 1 )
Song picture no. 20. This is the only
drawing of a pipe which occurs in
connection with these songs.
WORDS
Niwi/dubima/ I am sitting
Nai'iid In the fourth lodge
Opwa'gun With my pipe
The meaning of the word translated " lodge" is not clearly defined.
It refers to a progression in the Mule/, a similar idea occurring in
songs.
No. 21. Sixth Song
(Catalogue no. 127
Voice gj — 60
Drum J= 132
( Drum-rhythm similar to No. 1 )
mil
mw
m
Ni'jawen'imigog' They have taken pity on me
Gawa/bikwe/dj!g The white-haired ones
It is said to be the white-haired Mide' spirits who enable
the members of the Mide'wiwln to attain long life.
The chief purpose of the Mkle' is the securing of
health and long life to its adherents. Combined with
the assurances of its power to confer these benefits are
strict injunctions concerning rectitude, obedience to its
instructions, and temperance. These qualities doubt-
less united to produce the promised results.
Song picture no.
21. This drawing
undoubtedlyrep-
resentsone of the
" white-haired
Mide' spirits."
5NSM0EE]
CHIPPEWA MUSIC
No. 22. Seventh Song
Voice J = 60
Drum J =132
( Drum-rhythm similar to No. 1 )
. 61
(Catalogue no. 128)
WORDS
Wewe'ni Diligently
Bizin'dau Listen thou
Kaiya'gigido'djig To those who speak
No. 23. Eighth Song
Song picture no. 22.
He who speaks and
he who listens are
shown.
(Catalogue no. 129)
Voice J = 60
Drum J =132
( Drum-rhythm similar to No. 1 )
11$=====
M
WORDS
Ge'ga • Almost
Bizrnda'gonan' He will listen to ue
Manido/ Manido/
Song picture no.
23. This outline
is frequently
used to repre-
(CompareTrtw- Analysis. — This song comprises the compass of an
ings of songs nos. octave, extending from the dominant above to the
16, 94, and 95.) dominant below the tonic. The melody is based on
the tonic triad with the sixth" added, and, as frequently occurs in
these songs, the entrance of the tonic is delayed. More of the
recorded Chippewa songs begin on the twelfth or fifth than on any
other tone and the first interval of descent is frequently a minor
third. This is repeated several times and is followed by the descent
of a major third, which completes the major triad and introduces
the tonic.
62
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
No. 24. Ninth Song
(Catalogue no. 130)
Voice ^ -_ 60
Drum J =132
( Drum-rhythm similar to No. 1 )
gt
Ca'cabondeckwa'gwan
Manidog'
Bi/tawaka/mig
A/bidjig/
They are going through all the
Rooms of the Mlde' lodge, it appears
The Mide/ spirits, who live
In the four layers of the earth
Song picture no. l'4.
The subject recurs to
that of the first song in
the series and the circle
is again shown, with
one of "the people who
live in the fourth layer
under the earth."
Ceremonial Songs
Sung by Na'jobi'tun"
The following twenty-six songs consist of four
series, each having its own type of music and its
distinct character of words. The first series may
be sung at the close of a ceremony ; the others are
connected with the initiation of members. The
music is the most primitive which the writer re-
corded, with the possible exception of the songs given by De'bwa-
wen'dunk of the Bois Fort reservation.
SERIES 1 — ANALYSIS
Musically, the songs in the first series are very similar, yet no
two are exactly alike. The songs were sung firmly and without
hesitation, showing that they were not improvised. Before singing
a song Na'jobi't tin sometimes retired to the next room in order quietly
to hum over the song and to be sure that he remembered it correctly.
Many of the songs were sung several times, the renditions being
identical, except occasionally in unimportant measures near the
close.
The words of the first series relate to the water-spirit — his dwell-
ing, his action, and his manifestation as a male beaver. Mention is
made of the mermen. It is believed that manido' in the form of
both mermen and mermaids live in the water and at times appeal' to
the members of the Mide'wiwm.
Song no. 33 furnishes an interesting example of the difficulties
encountered in securing translations of these songs. The first inter-
preter said the last words meant "] will gather it in the place of
a An old man living at Boy Lake, a portion of the Leech Lake reservation about 30 miles from the
agency, reached only by water. Na'jobi'tun (" two men walking") was almost blind and was in every
way the most isolated individual with whom the writer came in contact. He was a firm believer in the
Mlde'wlwln and its power.
CHIPPEWA MUSIC
63
a circle;" later, another interpreter gave as the meaning" a place
where the water moved in a circle;" the place was finally iden-
tified as a portion of Lake St. Clair where the water is said to form
eddies or small circles. This suggests that the song may have come
from Walpole island, where many Canadian Chippewa make their
home, or from some other group of Chippewa in that vicinity. In
this case it is reasonable to assume that the "long rapids" referred
to in no. 25 are the rapids at Sault Ste. Marie.
These songs are not fully transcribed, only the outline of the
melody being given. This takes no account of rhythm or note
values, but shows the melodic trend of the song more clearly than
a full transcription. The songs contain frequent interpolations of
hi hi hi hi; the syllables of the words are repeated; and in many
instances the songs resemble chants.
The musical material of many of these songs consists of the major
triad with the sixth added, yet the principal interval is the descending
minor third. The descent of the minor third characterizes the most
primitive music, and the five-toned scale characterizes music which
may be termed semideveloped. The major triad with the sixth
added is the five-toned scale lacking the second, and in songs nos. 28,
30, and 33 of the present series we find this tone present as a passing
tone, thus completing the tone material of the five-toned scale.
In all these songs, except no. 20, the feeling of the tonic chord
is very strong. The ending of no. 20, as written, suggests a transition
to the relative minor, but as sung it gives us the impression that the
song is suddenly left in midair. Yet the ending was conclusive,
followed by the customary ho ho ho ho. The accidentals in songs
nos. 26 and 27 were firmly given, but seem intended as an ornamenta-
tion rather than suggesting modulation.
No. 25
(Catalogue no. 16)
gifeS
m
aas
M
WORDS
Keno'djiwanuiV At the long rapids
Nimadwe'nadomi'go.. .1 j am caUe(J t(, gQ iu
TVi< il)in/digean/ J
Nikan'ug , . r T My Mide' brethren
Song I'ictuiie no. 25.
64
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 45
No. 26
0 i?i
(Catalogue no. 17)
_b. .
glE^E=EE^
^H
™ ^X/A.
Song picture no. 26.
Kiga/winanan/doniigog/ We may call upon you for
assistance
Kikan'ug We, your Mkle' brethren
Miziwe'mide'wiig Assembled from every-
where
No. 27
(Catalogue no. 18)
J?. b.
3
m
Daya'wengumi'
Daona/gumi/
Daonun/gumi/
Geundjima'mwekiyan.
m=^^^EE?E=i:
[Free translation]
When the waters are
calm and the fog rises,
I will now and then
appear
No. 28
Song picture no. 27. The
circle represents the sky,
which is overcast with
drops of moisture; emerg-
ing from this is the face of
the manido'. (Compare
drawing of song no. 97.)
(Catalogue no. 19)
wm
WORDS
Kigacob'unde' You Vv ill pass through
Endad' The dwelling of
Manido' The water spirit
Nikan' My Mide' brethren
Song picture no. 28. The
Mkle' lodge and the per-
son being initiated are
shown.
densmouk]
CHIPPEWA MUSIC
No. 29
65
(Catalogue no. 20)
m
^^n
Babidiwe'wedjiwan' The sound of flowing waters
Enda'yan Comes toward my home
When this is sung the members of the Mlde'-
wlwm rise and dance during the remainder of
the series of songs, the change being indicated
by a line across the strip of birch bark, between
the song pictures.
No. 30
s
Song picture no. 29. A
pojnted tipi represents
the home of the MJde'-
wlnl'ni. It is interest-
ing to note that the
wavy lines indicating the
pulsating sound reach
the body or heart of the
man, not his ears.
(Catalogue no. 21)
m^
Song picture no. 30.
Reference to song no. 34
shows that the speaker is
a beaver. This drawing
represents his appearance
above the water; also one
of the " men of the deep."
Kayenin'moki'yan .. When I appear
Mamweka'dogowug'. The men of the deep
Memegwa'siwug' Will be cast up by seething waters
No. 31
(Catalogue no. 22)
gas
m.
Memweka'bogowiig'.. They are being east up by seething
waters
Wabimi'giswug' The white MIde' shells
Song picture no. 31.
On the crest of the
waves appear the
mi'gls, or white
MIde' shells.
12692°— Bull. 45—10-
66
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 32 (Catalogue no. 23)
C • _ « =_ , -
* — •
^0
Dabima'mwekiwug'.. Now and then there will arise
out of the waters
N ikan'ug My Mlde' brethren
Nigigwug7 The otters
Song picture no. 32. The
circle represents a lake
from which two otters rise.
No. 33
(Catalogue no. 24)
WORKS
Beba/mamoyan/ I am gathering
Wananan'dawioyan' .. That with which
Wawiya'tamiing' I will treat myself
Geiindina'man In the Lake of Eddying
Waters, I will obtain it
Song picture no. 33. In his
hand (he man holds some
substance gathered from the
lake, which is believed to
have medicinal properties.
No. 34 (Catalogue no. 25)
WORDS
Kegef A'erily
Nimanidon/ I am a spirit
Muki'yan To be able to become visible
Nabe'mikowiyan' I that am a male beaver
SERIES 2 — ANALYSIS
The second series consists of songs used at the
initiation of members in the Mide' wTwm. In songs
nos. 35, 38, and 40 the initiators speak; in nos. 36,
37, and 42 the person to be initiated speaks ; and
nos. 39 and 41 appear to be the words of a manido'
sax
^
Song picture no. 34. A
beaver is seen rising
from the water.
CHIPPEWA MUSIC
67
represented by or existent in the leading man's medicine pouch. The
mention of metal in nos. 37 and 42, as well as the mention of the high
hill in no. 39, would indicate that the song had been used in a part
of the country where minerals and mountains were familiar to the
people.
These songs show somewhat better musical material than those in
the first series. Two of the songs are on the fourth five-toned scale,
five contain the tones of the major triad with the added sixth, thus
presenting the partially formed five-toned scale mentioned in the
analysis of the first series, while no. 36 contains only the tones of
the minor triad.
Song no. 39 of this series is of more than usual interest and is tran-
scribed in full.
No. 35 (Catalogue no. 26)
mm
Kigawa'bamag You shall now behold
MidVwidjig They of the Mide'
No. 36
Song picture no. 35. This draw-
ing shows the MIde'wIgan, the
medicine pole, the stone, and the
assembled members of the Mide'-
wlwln. The candidate for initia-
tion sees and hears the ceremony
mentally before entering the
lodge. Note the eyes and the ear
of the candidate.
(Catalogue no. 27)
S*£
Song picture no.
3 6. The two
figures are ex-
actly alike, the
heart being
shown and the
straight lines
indicating
"strength."
Thus the candi-
date assures him-
self that he will
receive all the
benefits enjoyed
by other mem-
bers of the MI-
de'wlwln.
WORDS
Na Listen
Mlgaye'nin I shall also be blessed
Minawin' And my life prolonged
En'dayan' Like
Mide'wag : Those of the Mide'
Endiwad' Whom I now behold
The candidate for initiation is assured of the bene-
fits which he will derive from the Mkle'. This assur-
ance is often needed as the candidate regards the
initiation as a difficult ordeal. He has a part which
must be properly performed, in which he has been
instructed by the initiators.
68
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 37 (Catalogue no. 28)
B-i
^s^mm^^^m
Song picture
no. 37. In this
drawing both
straight and
wavy lines
diverge from
the figure.
The wavy
lines are said
to indicate
"the song"
and the
straight lines
to indicate
"strength."
WORDS
Mi'nawina' Is it that
Ain'nweyan' Which my voice resembles?
Biwa'blkun Even metal
Ain'weyan' The sounding of my voice?
No. 38
(Catalogue no. 29)
mm
Anindi' Where is
Abigwen' The dwelling
Manido' Of the greatest spirit?
Nikan' My Mide/ brethren
WabunaiV In the east
Abigwen' Is the dwelling
Manido' Of the greatest spirit
Nikan' My Mlde' brethren
Mioma' Here
Abigwen' Is my dwelling
Manido/wiyan/ I who am the greatest spirit
SONG PICTURE NO.
38. It was stated
that the horizon-
tal figure and
head represented
the East man-
ido' and that
the upright fig-
ure and head
represented the
South manido'.
This record was played for Na'waji'bigo'kwe, a mem-
ber of the MJde'wIwm, who drew the pictures for these
series of songs; she said that this is a new form of an old song, and
that the younger men of to-day are arrogant enough to use it, but
that the old and correct form of the song gives the last two words as
follows :
CawamnV Toward the east
Abigwen' Is his dwelling
CHIPPEWA MUSIC
No. 39
69
(Catalogue no. 30)
Voice J . — 69
Recorded without drum
EPg^BSf
f=f
U"
Ea^EEE
-• — •-
M
m
Wa-dji-wifi ge en-da-nwe-wl - da - ma - an wa-djl-wlii-gre en-da-
-m — •-
S3^
(2-
O
F=f
-• — •-
ESEE33
nwe-wl - da -
ma
- an
wa - dji-wln ge en - da-nwe-wi- da
1 1 -P"l
- ma
- an
~ofL r r r~
-*s> —
-• — m—
=i=J— ri=
- .
.
-•— • — • —
— 1 —
— P^i—
-^ b ' ' '
4- \-
• • 1#
-|
-j— \ — 1 —
h
H —
4 — i
wa-djl-wlii ge eu-da-nwe- wi - da - ma - an wa-dji-wm ge en-da-
§5
1 — ! — TT
^
S^3=S
-d—4—4
1==t
nwe,-wl-da - rna - an wa-djl-wln ye en-da-nwe-wl-da - ma - an
Wadjlwing/ From beneath the high
hill
En'danwewulaman' My voice echoes forth
Song picture no. 39.
Dancing begins with this song and continues during in this drawing the
the remainder of the series. JJ* represents a
No. 40
(Catalogue no. 31)
WA
Song picture no. 40. In this
drawing the circle represents
the earth; note the interrup-
tion of the circle at the lower
edge.
WORDS
Anawl'na •> I will cause it to ap-
Nimo'kiwina' j pear
Tibickoka'mig That which is beneath
the earth
Ebicrwen'
Anawi'na . . .
Nimo'klnina'
Although I bring it up
to light
70
BUREAU OF AMERICAN ETHNOLOGY [boll. 45
No. 41 (Catalogue no. 32)
^m
^^m
Song picture no. 41. In this
drawing the circle represents
the sky; note the interrup-
tion at the upper edge. Men-
tion of a bird occurs with spe-
cial frequency in songs of the
second, third, and fourth de-
WORDS
Nlpo'niyan' I am about to alight
Tciwa'bamiyau' That you may see me
Tiblc'koka'mig Upon the level
ground
Tciwa/baniiyau/ That you may see me
Nipo'niyau7 I am about to alight
Tclwa'baniiyau' That you may see me
No. 42
(Catalogue no. 33)
Wabik' The strength of metal
Owlbiyan' Has entered into my
arrow point
Manido' A spirit
Ninda'nisa' I could kill
Wabik' The strength of iron
Owiblyan' Has entered into my
arrow point
SERIES 3 ANALYSIS
Song picture no. 42. A bear
and an otter are represented
in this drawing.
The words of the third series are characterized by very strong
affirmation of the power and beauty of the Mide' religion. In this
series the affirmative used is man' dan, which is the customary word
among the Canadian Chippewa, the affirmation used by the Minnesota
Chippewa being Tcegef, or gegetf. This suggests a Canadian origin for
the songs.
The translation of no. 50 was the subject of much discussion by the
interpreters and members of the Mide'wiwm, as the words contain
the idea of a year and also the idea of indefinite continuity. It may
be best explained as meaning that the power of the inspiration is
indefinite, but that it is expected that members will reassemble
at the end of a year for the purpose of strengthening and confirming
their faith.
imore]
chippkwa ^r i^sic1
Musically, this series presents interesting material. The first two
ongs are on the second five^toned scale.
The tonality of no. 45 is of unusual interest.
Songs nos. 46 and 47 show the octave complete except the seventh,
while nos. 48, 49, and .50 show the incomplete five-toned scale men-
tioned in the analysis of the first series. The principal interest
centers in the first three songs of the series.
WORDS
Anawi'na Although
Manido/ He is a spirit
Nikai/iig My Mide/ brethren
Tcimaya'wln inV I will raise him up
No. 44
Song picture no. 43. The
Mlde'wlnl'nl holds in
his hand an otter, repre-
senting his MIde' bag.
(( !atalogue no. 35)
m
II
[Free translation]
Song picture no. 44. Awineei'cfe 1
In the center of the * I Beautiful as a star hanging in
MIde'wigan are two S° e - - - the & [g om Mlde/ jod
poles, suggesting that Naawind' J
two persons are to be
initiated. Above the
S'e "of IheX6 The words of this sonS are idiomatic and a trans-
(Compare drawings lation was secured with difficulty. The song was
of songs nos. 2 and recorded at Leech Lake> where tw0 interpreters
worked on it. Later the phonograph record was
played for Na'waji'bigo'kwe, at White Earth. She drew the song
picture and this translation was finally decided on as giving the
essential idea of the song.
72
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 45 (Catalogue no. 36)
--¥--
Song picture no. 45. The
man holds in his hand a
mi'gls, or white MIde'
shell, its power being in-
dicated by the raanido'
rising from it.
WORDS
[Free translation]
Niwawa'gawia I have gained such spirit-power
that I can tame it in my hand
Man'dan It is true
Gibinan' Even our white shell
Niwawa'gawia' I can tame it in my hand
No. 46
(Catalogue no. 37)
Ji. -g.
e§£&
a*
m&
m
Gi'dg
Wi'kanlna'. . .
Manidowan'. ..
Nin'a
Wen'dabiyan'.
[Free translation]
The sky is clear where one
brother in the Mide' is si 1 1 ing
Song picture no. 40. The
several circles represent
the several skies which
are supposed to exist, one
above another. In one of
these the MIde' brother is
seen to be sitting, while
beside him are the moon
and the stars.
If the day is fair it is considered that the person to he initiated
will he especially blessed ; stormy weather is considered an unfavorable
omen. The song does not express a desire or hope for fair weather
but affirms it as a fact. Compare song no. 70.
Dancing begins with this song and continues during the remainder
of the series.
DENSMOKE]
CHIPPEWA MUSIC
No. 47
(Addressed to a sick person whose infirmity makes it impossible for him to walk)
[Free translation]
Arri'yankun y0u will recover; you will walk again.
Nin'na It is I who say it ; my power is great
Man/da n Through our white shell I will enable
Bimose'hinan' you to walk again
Gibinan'
No. 48
Song picture no. 47.
The lines on the
man's Limbs indi-
cate the"strength"
which he is to re-
ceive through the
Mlde', enabling
him to walk. (Com-
pare drawing of
song no. 19, in
which the straight
lines are on the
body, the desired
strength here be-
ing of a more gen-
eral nature.)
(Catalogue no. 39)
WORDS
Gego' .... 1 Do not speak ill of the MioV
Inota waken' ]
Nikan' My Mkle' brethren
? an , " J ' - (Be sure to heed my words
SONG PICTURE NO. 48. InOtaWm f
In this as in no. 49 Nikan' My Mule' brethren
wavy lines are used
to represent speech.
Analysis. — The descending minor third is the principal interval in
tins song. The tonality is major and the melody follows the tones
of the major triad, the sixth being added in the latter portion of the
song. In common musical terms the song would be said to be in
the key of F, yet the tonic does not appear until the middle of the
song. Comparison will show this to be a marked peculiarity of
Chippewa songs. The progression F-D-F does not occur frequently
in the songs analyzed.
74
m&
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 49 (Catalogue no. 40)
— 0 -_ .# « m
m&
| Do not speak ill of the Mide'
Gego/
Inota/waken/ . . .
Nikan' My Mide' brethren
Ningotci' Wherever you may be
Ikwe/wan Do not speak ill of a woman
Nikon' My Mide' brethren
Song picture no
No. 50
(Catalogue no. 41)
m.
Tcrglglwa'basogwen'. . . We may live by it always
Nikan' My Mide' brethren
Manido'wan It is spiritual
Nin'esewin' The inspiration we receive
SERIES 4 — ANALYSIS
The fourth series is composed of songs which
are sung after a man has been initiated and has
been given a medicine bag corresponding to hand the Mide'wim'ni holds
, i i i i , i a Mule' shell.
the degree he has taken.
Song no. 54 contains a reference to the water spirit.
De'bwawen'dunk stated that song no. 58 refers to a yellow bear,
whose shaggy fur resembles feathers. As already stated, the bear is
closely connected with the Mide'
No. 59 refers to the fact that the white shells used in initiating
members into the Mide'wlwln are supposed to penetrate the skin,
and it is the duty of the initiators, having "shot" these shells, to
remove them. The work of these shells is a cleansing work, and if
any of them remain in the body it is supposed that the cleansing is
incomplete and the person suffers correspondingly. These shells
issue from the mouth of the person being initiated.
CHIPPEWA MUSIC
75
In the instance of this song one of the shells was difficult to remove
and was found to be in the heart of the person under initiation. As
an example of this, a woman stated to the writer that her arm had
been lame ever since she was initiated into the Mlde'wrwln. She
said that her husband asked her if she was sure that the initiators
removed all the shell or "medicine" and stated that if any remained
it might produce this lameness, which had continued about thirty
years.
The words of no. 00 refer, of course, to a manido'.
These songs are in a different style from the three preceding series,
yet it is impossible to indicate this in the melody outline, the pro-
gressions being about the same. Most of the songs in this series are
chanted in a very dignified and impressive manner, producing a pecu-
liar effect, quite different from that produced by the same tone
material in the form of the more rhythmic songs.
No. 51 presents the minor triad with minor seventh added. This
combination of tones is fully considered elsewhere in this paper (see
p. 130).
No. 52 contains the major triad with the second added, a somewhat
unusual feature.
Nos.53 and 54, one in the major and the other in the minor, show
the octave complete except the seventh.
No. 55 is on the fourth five-toned scale, and nos. 56 and 57 are on
the second five-toned scale, lacking one tone.
No. 58 is an interesting study of tonality. The ending was given
firmly and the melody is particularly effective.
Nos. 59 and 60 consist of the tones of the fourth five-toned scale
with the second lowered, the first song being minor and the second
major in tonality.
No. 51 (Catalogue no. 42)
msn
s?
WORDS
Umbe' Come
NagtimodV Let us sing
Umbe'sano'ecigabo'ida Come, we are now
standing before
you, bending down
Nikan' My Mide' brethren
Kibima'diziwm'dotaman' We ask long life for
you
Misanin'ingegigabo'iyan' That is what I my-
self am seeking for
you
Song picture no. 51. In this
drawing are shown the Mide'-
wigan, the pole, the stone, the
oc'kabe'wls at the entrance,
the leader of the ceremony, and
the candidate for initiation. As
this series of songs is used for
initiation into the second or
third degrees, the leader has an
assistant who is seated between
him and the novitiate.
76
BUREAU OP AMERICAN ETHNOLOGY [boll. 45
No. 52 (Catalogue no. 43)
=%
^CNG PICTURE NO. 52. The
man holds his weasel-
skin medicine bag.
mm
WORDS
E wina' Here it is
Hawina' Here it is
A'cigosi'wayan' The weasel skin (medi-
cine bag)
Geda'bimun' Through it I shoot the
white shells
No. 53 (Catalogue no. 44)
Ni'bawiyan' Here I stand
Na Behold
Boske'asm' A stone is filled
Ma/nidowTd/ With spirit power
Nibanin' With it I shoot
No. 54
Song picture no. 53. A
stone is at the point of
the man's arrow.
(Catalogue no. 45)
§Ste
II
m
Song picture no. 54. The mi'gls
is shown in the circle of the sea.
Nawigitoi'gami'we.
Genodog'gitcigami'.
In the middle of the sea
The lengthy room of the
Andana'biyan' There I am sitting
No. hi
(Catalogue no. 46)
m
a
Waka'oseyan' Walking around
Mide'watiguil' The Mide' pole
Manine'aman' Coming upon it stealthily
Miyiiwen'teiayasoseyan'. I make a noise as I fall,
leaning
Niganoseyan' When I lead them all
Song picture No. 55. Compare
song drawings nos. 2 and 10.
dknsmore]
CHIPPEWA MUSIC
77
In this song the singer represents himself to be a bear, walking
around the Mlde' pole and trying to strike it. (Compare fig. 6, p.
42.)
No. 56 (Catalogue no. 47)
^H
§S
WORDS
Ninbeba'miseyan' I that hasten around
Nabosedini/niwejiud/ I shoot at a man and he falls
in a trance
Nigagwe'dma' Then I feel with my hand
Ninbeba/miseyan/ To cee if he is still alive
No. 57
Song picture no. 56.
A wavy line connects
the bird and the sky-
circle. The double
line before this draw-
ing divides the series
into two parts, as
written on the bitch-
bark strip. The peo-
ple dance during the
succeeding songs.
(Catalogue no. 48)
m
-'— m— *— •
HI
WORDS
Anima/kizine/ Going with footwear on his feet
This song is said to be about a bear's paw.
Song picture no 57.
No. 58 (Catalogue no. 49)
WORDS
Wa'cine'biy&n' I who live in a cave
Kimico'misinan' Our grandfather
Onika'sa Arms he has
Omi'gwanun' With feathers
Wa'shifie'biyan' I who live in a cave
Song picture no. 58.
The "feathered arms ' '
are shown in the
drawing.
78
BUREAU OF AMERICAN ETHNOLdliV [bull. 45
No. 59 (Catalogue no. 50)
WORDS
Nikanun' My Mide' brother
Na'donamawin' Is searched
OdenV In his heart is found
Mi'konamawa' That which I seek to remove
MigiBUn' A white shell
Song picture no. 59. The
ini'gis is shown in the heart
of the Mide'.
No. 60
(Catalogue no. 51)
lz=xi
m
m
W-
-* — •
Cingus' Weasel
Nan'domiyan7 Thou art calling me
Song picture no. GO. In
his hand the man holds
a weasel, representing his
Mide' bag.
There is a large number of songs which may be used during the
initiation of a member of the Mide'wmm. Each of the old men
accustomed to lead the ceremony has his favorite songs and brings
with him the birch-bark rolls on which the songs are written. Before
each ceremony these rolls are examined and the songs discussed by
the initiators but the selection is usually left to the leader.
The three following songs are not parts of series but are detached
songs belonging to the portion of the ceremony in which the candidate
is "shot" by the initiators.
JNSMORB]
CHIPPEWA MUSIC
79
No. 61. Initiation Song (Catalogue no. 69)
Sung by A/gwitu/wigi/cig ("skipping a day")
Voice #' — 96
Recorded without drum
m
m^m^^^
Gi - a- wiii nin -da- sa ya ha nin da gi - a-wiunin-da-
m^m^^^m^^m^^m^m
&
sa ya ha nin da gi - a-wmnin-da-sa ya ha
a a a
-•- -•- -•-
gg£££^
-0- ^
ma - ni - do -wid nin -da - sa ya ha nin da gi - a - win nin-da ■
m^-^jU^Mr-tr^r^^^
sa ya ha nin da gi - a-wm niu-da - sa ya ha nin da
WORDS
Gi'awin/ Into thy body
Nindasa' I shoot
Manidowid' The spirit
This song is sung while the initiators march around the Mide'
lodge, the man to be initiated being seated beside the medicine pole.
Analysis. — A particularly pleasing melody is shown in this song.
The principal tones are those of the major triad, the second and
fourth being used as passing tones. With the exception of the last
measure of each phrase the rhythm is a triple rhythm throughout
the song.
The following narrative concerning the Mide' shells was given to
the writer by Mr. Charles Moulton, a member of the Otter Tail band
of Chippewa. Mr. Moulton stated that several years ago in the fall
he shot two ducks. In one of .them his wife found two small white
shells of the variety used in the Mkle/, commonly known as Mide'
shells. His wife is a gran dd an g] iter of De'dadj, the leading Mlde'-
wml-ni of the Otter Tail band, and from her childhood has heard the
traditions of the Mide/wiwm. She knew that these shells are rarely
found in ducks and that to find two in the same duck was "very great
medicine." Accordingly she showed the shells to De'dadj, who said,
"Put the shells into a box, wrap the box tightly in a cloth, do not
open it for a year, and at the end of that time you will find four
80
BUREAU OF AMERICAN ETHNOLOGY
[BOLL. 45
shells in the box instead of two." She followed his instructions.
The box was placed at the bottom of a trunk and not disturbed for
a year. It was then opened and was found to contain two small
shells in addition to the two originally placed there. It was im-
possible that De'dadj could have put them into the box, as he was
almost blind at the time and furthermore did not know where it was
hidden.
Mr. Moulton stated that a member of the Mide'wlwm would have
kept these four shells very carefully, secured small particles of them
by rubbing them on a piece of iron and placed these fragments in
water as a medicinal drink for the sick.
No. 62. Initiation Song
Sung by A/gwitu/wigi/cig
(Catalogue no. 70)
Voice J = 76
Recorded without drum
±L fl £ ^ -#-
de - wa - yan e ni - mi - de - wa - yan
£n#Hb
mm±m!tm±^i^mj4±m
e ni-ini-de-wa-yau
ni-mi-de-wa-yan e ni-mi-de-wa-yan
lUlHl
Ni'mide'wayan' My MidV bag
During this song the person to be initiated is "shot"
by the initiators.
Analysis.— -The tonality of this song is obscure. It is
transcribed exactly as sung, the different renditions being
S0NNoGG2PICiTnUhis identical, yet the key is not definitely established, neither
hand the man are modluations indicated with sufficient clearness to be
mahvMchrTp- safely assumed. The steadily descending progression
resents his nere*foun(i \s interesting and the melody itself is unusu-
Mlde' bag.
ally attractive.
DENS MORE]
CHIPPEWA MUSIC
No. 63. Initiation Song
Sung by Main'ans
Voice J— 168
Dkum J- 176
(Drum-rhythm similar to No. 3)
81
(Catalogue no. 254)
Ba - do-gwen e gi
bi - nan
=§±fe£
bye
F.
ba - do-gwen e gi - bi-nan
n !
P
ba - do-gwen e
^ b.i.
5
gi - bi -nan e
~ I I 1
ba - do-gwen e gi - bi - nan
m^m^s^
ba -do-gwen e
bi - nan
hln
de-mu-sa gun
m^
4z&
M
3=tt
^^
^E
e gi - wi - ne - wa ba - do-gwen e gi - bi - nan e ba - do-gwen
=§y=&
a?
?=]=
3t=lfc
IHI
gi - bi-nan
ba - do-gwen
gi - bi - nan
Badogwen' It never fails
Gibinan' The shell
Demusa/ Goes toward them
Gi/winewa/ And they fall
o
Song picture no.
63. This draw-
ing represents a
mi'gls.
This song is sung during the "shooting" of the can
didate for initiation. The song is unusual in that the first descent
of the voice is the interval of a fourth. The melody follows closely
the minor chord, all other tones being readily identified as passing
tones.
No. 64. Initiation Song
(Catalogue no. 67)
Sung by Ki'tcimak'wa
Fair weather is symbolic of health and happiness. Thus the words
of this song predict health and happiness for the person to be
initiated.
Analysis. — An unusual number of vowel syllables are used to fill out
the measures of this song. Longer than most Mide' songs, its spe-
cial musical interest is the manner in which quadruple measures are
introduced into a triple rhythm.
12692°— Bull. 45— 1(
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
Voice J=80
Recorded without drum
_m_ m. ^ ».
r9%
P=F
£e£
*— (*-
^ *-
_^_^_
|4 (2 — '— *— Fl
We-go- uen i wi ne e e wa-ya- he - he- he- da- mo - non ha ha
mm , » 9—
ms^^
t=t
P=P=
t=t
^=P=
:p=p:
Art /ia ha we-go- nen i roe ne e he we - a - wi - hi - hi - da - mo
non /i
J Ui
,'ta Aa Aa we-go-neu i we
e e e wa-ya-
qc=F=
=P=P=
a^
/ze-e-da-nio - ua fta Aa ha ha ha man-da- gi - cig wi
t)
-an2 f-
^=F
^=?c
t=t
^=e=
^=p:
a=e
i=t
he he
:iji - wa-
.m #_
fte - he - na - go
dee /ie Ae
Ae fte
p=F
^=?E
1
/ie dji-we-nen - i - go-deg he he wa - ya - wi - hi- en -da- mo
m^
E3S
3=t
t=
=p=p==e
^EE
1
-*—*—*-
he
he we - go- nen
©* m— t-B a a rl
=P=P=
*— *
«3tt
^
e wa-ya -we - he - ha - da - mo - non ha ha
ha ne
Song picture no. i
The wavy line repre-
sents the song
which, rising to the
sky, will make it
bright and clear.
(Compare drawing
of song no. 56.)
Wegonne' What is this
Wayawmdamoiion' I promise you?
Mandagi'cig The skies shall be bright and clear
for you
Djiwawe'nagodeg' This is what I promise you
Songs to Insure Success
During the dance which follows an initiation cere-
mony it is customary for the members of the Mide'-
wrwin to sing the songs of their special medicines. It
is said that a man whose hunting medicine is particu-
larly strong may rise and dance and sing his hunting-
DEXSMOKK]
CHIPPEWA MUSIC
83
charm songs and that he may be joined by any other persons whose
special medicine pertains to the hunt and who know the same songs.
The following set of five hunting songs were sung by Be'cigwi'-
wizans ("striped boy") and are of this character. They were sung
by their possessor before starting on a hunting expedition.
The first, second, and third songs assert the ability of the Mlde'-
wml'ni to control the wild creatures of the woods; the fourth and
fifth songs are concerned with the means which are employed.
No. 65. Hunting Song (a)
Sung by Be'cigwi'wizans
(Catalogue no. 56)
Voice J— 152
Recorded without drum
M. J- -g- JL
S^3
E5t
rEE=y=E
Me - gwti-yak ka nin- don - dji - bi - na
JfL J_ J. J. _,_ m
ha na
nie-gwu-yak ka nln-don-dji - bi - na gi - ga- gi - kwa- wi-ni - nan
ggSi
E|jp[|g^B^^S
£^M
me-gwu-yak ka nin-don-dji-bi - na me-gwu-yak ka nln-don-dji -bi
na he na ya me-gwu-yak ka nln-don-dji - bi - na ha na
+ J?. JL JL JL _,_
me-gwu-yak ka nln-don-dji - bi
na gi - ga - gi -
m^-
• • 9 •-
m
Pi
:E=^=f=
*=t
kwa - wi-ni - nan ._ me-gwu-yak ka nin-don - dji - bi
4=F
1 r=t=i=
me-gwCi-yak ka nln-don-dji - bi - na he na
^
Megwuyak' Out of the woods
Nindon/djibi/na We will bring
Gigagikwa/wininan/ Even as we are telling you
Song picture no.
Analysis. — Attention is called to the varied measure 65- The animal ^
lengths and rapid metric unit in this song. It is also llThZter.^^
84
BUREAU OF AMERICAN ETHNOLOGY
Lbuli,. 45
interesting to note that the F flat and succeeding F natural were
accurately given.
No. 66. Hunting Song (b) (Catalogue no. 57)
Sung by Be'cigwi'wizans
Voice J— 176
Recorded without drum
mar^rwr^^mzu m rmtrew'
ra^^
^F1^
^nsm
t=t
Ninba/gaako/kwan . My war club
Gi'eigun Resounds through the sky
Dee'dagwe'wesin'. . To summon the animals to my
call
Analysis. — The words of this song were too indis-
tinct for transcription. This is an instance in
t which the entire song constitutes a rhythmic unit.
Each tone in the first measure was given with equal
song picture no. 66. accent, the tempo throughout being unusually well
Above the singer are marked. The major third is the largest interval
seen his war club and
the resounding sky.
occurring; in this song.
No. 67. Hunting Song (c)
Sung by Be'cigwi'wizans
Voice J =176
Recorded without drum
(Catalogue no. 58)
1
m
r_„L_J_:|=__:|
ftr—r-
=P=I
Um-be sa ta - di - da
erwe ta - di
da we gin-
Pf=*=E^
^u-r^r^^
a - ta - gi - ma - ni - do wa a hi
WORDS
Umbe/ Come
Sa Behold
Ata'dida' Let us have a contest
Cici'gwe 0 rattlesnake
Gina/tagimanido/ .. Most subtle of reptiles
Cici'gwe O rattlesnake
ha na
Song picture no. 67.
DENS MORE]
CHIPPEWA MUSIC
85
This song is addressed to the rattlesnake as being the most dreaded
and subtle of reptiles, which always succeeds in whatever it under-
takes. The idea of the song is that the Mide' has enabled the man
to compete successfully with even the wiliest of creatures.
Analysis. — The rhythm of this song is as subtle as the subject.
Attention is directed to the melodic and rhythmic effect in the fifth
and sixth measures. The minor third is the largest interval occurring
in the song.
No. 68. Hunting Song (d) (Catalogue no. 59)
Sung by Be'cigwi'wizans
Voice J = 192
Recorded without drum
A-ya
dja-kuin-ig e uio-ki-yan
a-ya
dja-kum-ig
9i*S
lfe£
-f-r*
,w
ki-yan
hi jan - we - ci-wa-yan a
±fc=t==
t=t
1
f=+
=t=±b*=f
we - ci-wa-yau a
jan
we - ci - wa-yan a
Aya'djawakum'Ig From all parts of the earth
Mokiyan' I make my appearance
Janwe/ciwayan/ Clothed with the skin of the
marten
The singer stated that the words of this song
refer to a Mide' bag made of the skin of a marten,
which "has power to drive together the animals
from all parts of the earth." It will be remem-
bered that the manido' mentioned in the account
of the origin of the Mide' (p. 23) carried living
otters in their hands. Song no. 13 (p. 47) speaks
of a sound as coming from the Mide' bag, and song
no. GO (p. 78) contains the words, "Weasel, thou art calling me," the
song referring to the Mide' bag carried by a member of the first
degree in the Micle'wiwm. In song no. 81 (p. 1051; a medicine bag
made of the skin of an owl is represented as speaking. A comparison
of these songs is of interest.
Analysis. — This is one of the few songs in which the first progres-
sion is an upward progression. Rhythm constitutes an important
feature of these hunting songs, yet the rhythm of each is distinct
and peculiar.
Song picture no. 68. " All
parts of the earth " are rep-
resented by two circles,
between which is seen the
form of the marten.
86 BUREAU OF AMERICAN ETHNOLOGY [BULL. 45
No. 69. Hunting Song 0) (Catalogue no. 60)
Sung by Be/cigwi/wizans
Voice J —168
Recorded without drum
,m b f X
jgg^gaa^^iiP
s
* — *.
*— 3H-
E§*3
A-nun-guii we he na a ni gwe h
S> n-i ^ !* — r^ • 1 !* — •-
a - nun-gun
M=l f^i^EEEEE
EK
we he
na a ni
a-nun-gun we he
a ni gwe he
Song picture no. 69. The
correspondence between
the man and the star is
indicated by a straight
line.
a-nun-gun. we he na a ni gwe he
Amu/guii Like a star
Nindina/bamig I shine
Awesin7 The animal, gazing, is fascinated
by my light
The writer was informed that the use of a light
in hunting at night was known by the Indians
before the coming of the white man.
Analysis. — Tins song shows a distinct rhythmic unit of four
measures. This unit occurs three times at the opening of the song,
is followed by five measures in a different rhythm, after which the
rhythmic unit is used in closing the song. Such regularity of musical
form is seldom found in these songs." It is also unusual for rests to
occur, even the repetitions usually being given with no appreciable
pause.
There appears to be no limit to the number of times a song is sung
and the continued repetition has a rhythmic swing of its own. At a
social dance the drum gives a signal indicating that the song will be
sung only once more. This is understood by the dancers, but is
scarcely noticed by an outsider. The time for this signal is deter-
mined by the man at the drum, who started the song.
« Songs recently secured show greater regularity.
DENS MORE]
CHIPPEWA MUSIC
87
No. 70. Song for Securing a Good Supply of (Catalogue no. 64)
Maple Sugar
Sung by Ki'toimak/wa:
Voice J = 72
Recorded without drum
^=±2:
Wi-dji-ga - wi-ni
+
na - ha hln-di-yan
0-0—0—0-
wl-dji-
gi-gi-gog wi-ni
wi-dji-ga- wi-ni-
mg^^n^hm
i=i=&
a
na - ha hin-di-yan
e wi-dji-ga- wi-ni - na-ha hin-di-yan-e
Widjiga'wiwina'ha (Obsolete)
Hin'diyane' (Obsolete)
Mitigon' From the trees
Gion/gigog/ The sap is freely flowing
The making of maple sugar constituted a pleasant
industry among the Chippewa. From their scattered
abodes they assembled at the sugar camp in the spring. SoNG picture no.
The events of the winter were fully discussed, and gen- tree the sap is
eral sociability marked the gathering. Maple sugar is seen flowing into
, ., , J , . fo i • • ,, x- a bucket. The
a favorite luxury and is prepared in various attractive roots of the tree
forms. An abundant supply is greatly desired, and are shown iD
. I * M the drawing.
this song is supposed to secure it.
The words furnish an example of the affirmation which strongly
characterizes the Mide' songs. There is no request; the song simply
88 BUREAU OF AMERICAN ETHNOLOGY Ibull. 45
asserts that the sap is flowing freely, thus presenting to the mind a
vivid picture of the conditions which would produce the desired
supply of maple sugar.
Analysis. — This song shows a characteristic tendency to lower
slightly the pitch on the second of two similar tones. Throughout the
song a double measure is followed by a triple measure. Each rhythm
was given distinctly and for that reason it was not deemed advisable
to combine two measures in one 5-4 measure. The principal words
are mispronounced, as frecmently occurs in the Chippewa songs.
Love-charm Songs
Sung by Na/waji/bigo/kwe
The love charm is a very popular form of magic among the Chip-
pewa. Of the following set of four love-charm songs no. 72 was first
sung for the writer by a woman on the Red Lake reservation, the
circumstances being as follows: The writer was engaged in the col-
lection of folk-tales and persuaded this woman to tell a story. She
consented with reluctance as it was the summer season and she said
that snakes would certainly bite her at night if she told stories in the
summer. After writing down a story the writer asked her to tell
something about the Mlde'wlwm and to sing one of its songs. This
request was received with still greater reluctance. The woman
finally consented to sing one song in some secluded place where she
was sure no one could hear her. When asked what the song would
be she replied that it was a love-charm song. She was a woman
about sixty years of age and was the most dirty and unattractive
woman with whom the writer has come in contact. In a thin, nasal
tone she sang the song, which was noted down by ear, no phonograph
being available. With coy shyness she said the song meant that she
was as beautiful as the roses. She also drew a crude picture of the
song. Later this picture was shown to Na'waji'bigo'kwe at White
Earth. She recognized the picture at once and sang the song into
the phonograph. When the transcription of this record was com-
pared with the memorandum made at Red Lake the identity of the
song was readily discerned. The singer at Red Lake promised to
come back and sing other songs the next day, but some friends who
knew that she had sung a Mme' song threatened her with calamit}^
and she did not return. The singer at White Earth said that this
is the first of a set of four songs. All were recorded by Na'waji'-
bigo'kwe, but the first is the most interesting of the set; only the
words of the others therefore are given.
Analysis. — One measure constitutes the rhythmic unit in this
song, being repeated with absolute regularity. Attention is directed
DBNSMOBE]
CHIPPEWA MUSIC
to the range of voice. The singer was a woman, but her voice was
in the tenor register. This was found to be the case with the voices
of other women who sang the Mlde' songs, being due, perhaps, to
the fact that they were accustomed to singing with the men and
adopted a unison tone.
No. 71 (a)
(Catalogue no. 73)
Voice ^ = 88
Recorded without drum
rv,. ,,, r -4=-
4=
-f-
* r
-*- -•-
— i
-fr P b» ,
^t — -
— ' i —
— ' —
A - ni
U^-f_J-
- na
- ji
-•-
% -
- a - ne
f — M
a - ni
- na
-*-^ —
ji - a - ne
zj-f 1 — 1
a - ni -
na
ji -
a - ne
a - ni -
na
ji - a - ne
-C4— h • •
'
* * m
^=£^-r
F =
-f— f
=t t (:
a - ni -
na
ji -
a - ne
a - ni -
na -
|-
ji - a - ne
^— I 1—
-t
— I —
a - ni -
-•- -»-
-^i, — 1 r
na
ji -
-•-
ft
a - ne
-P •— i
o - gi -
— * -*—
ni
ba - un e
s i — r —
^^' — L-
-t 1—
— 1
a - ji -
f *
na
go -
o - yan
a - ni -
na
ji - a - ne
C\m h i
r
J
9 m
T • i " ■ '
i
B
r
D • r ■
-^-b b—"
— U 1-
£ -4- h
a - ni -
na
ji
a - ne
a - ni
- na
ji - a - ne
T'i "if
u
rc i ill
-^-b- U r-
4 —
P
1 i-
- 1 \-
4- —
-B-4- — 1 — l-i
ni - na - ji
WORDS
A/ninajun/ What are you saying to me?
Ogini'baguiV I am arrayed like the roses
Ajina'gooyan' And beautiful as they
Song picture no.
The heart of the fig-
ure is shown. (For
drawing of roses,
compare song no. 99.)
90
BUREAU OF AMERICAN ETHNOLOGY [bull. 4f.
NO. 72 (b) (Catalogue no. 74)
Song picture no. 72.
The lines diverging
from the figure of the
man were said to
represent "feeling."
(Compare drawing of
song no. 103.)
Ninda'agagia
Feiri'ni
Namundj'. . .
En'dogwen'.
Wi'agudjiug'
Niwawin/gawia/ I can charm the man
Enl'niwa7 He is completely fascinated
by me
No. 73 (c)
WORDS
[Free translation]
can make that man bashful. I
wonder what can be the matter
that he is so bashful
(Catalogue no. 75)
Soxc PICTURE NO. 73.
NO. 74 (d)
(Catalogue no. 76)
WORDS
Mi'sawe'k unrig' In the center of the earth
A/yagwen/ Wherever he may be
Ana'makifr' Or under the earth
3NG PICTURE NO. 74.
DENS MORE]
CTITPPEWA MUSIC
No. 75. Love-charm Song
91
(Catalogue no. 52)
Sung by Manido'gictgo'kwe ("spirit day woman")
Voice J — 72
Recorded without drum
The singer of this and the following song is a
woman whose personality is unique and interest-
ing.0
Analysis. — It is impossible to indicate by any
notation the peculiar nuances of this singer. A
slight prolonging of certain tones gives the songs
a fascinating effect, heightened by a slight glis-
sando. The songs are also sung with the nasal
quality affected by the Chippewa when singing
love songs.
Attention is directed to the fact that this, like many other Chippewa
love songs, has a slow metric unit.
Song picture no. 75. The
power of the love charm is
shown by the manner in
which the woman attracts
the man, who appears
rather reluctant.
<* A description of this singer is given in connection with song no. 133. See also pi. 11.
92
BUREAU OF AMERICAN ETHNOLOGY [boll. 45
No. 76. Love-charm Song (Catalogue no. 53)
Sung by Manidc/gicigo'kwe
Voice J=84
Recorded without drum
fe
S
ip=pi
m
*— *
lit
fc&=i=
Songs Connected with the Cure of the Sick
The treatment of the sick is conducted by the older members of
the Mkle'wlwin, special songs being sung in connection with the
use of medicinal herbs. This treatment is frequently given in con-
junction with an initiation ceremony, the person being initiated in
order to cure him of his bodily illness. Reference is made to song
no. 47 (p. 73), the words of which are more characteristic of the
Mide' than the words of the songs which follow under this heading
and which are connected with personal incidents. In song no. 47
the power of the Mide' to cure the sick is affirmed and emphasized,
it being further stated that the white shell is the means used to that
end. This element of affirmation is very strong in the MMe/ and to
it may largely be attributed the power of the MMe/ over the minds
of the Chippewa.
Mi'jakiya'clg ("clearing sky"), an aged woman who is a member
of the Mide' wl win, sang the two following songs associated with
her personal experience."
We'nabo'jo and his grandmother are the principal characters in
Chippewa folklore. We'nabo'jo is also connected with the Mide',
though the connection is not clearly defined.
a Mi'jakiya'clg stated that she was very ill when she was a young woman. Her parents prepared a
feast and sent for a Mlde'wlnl'nl. After partaking of the feast the Mlde'wlnl'nl "spoke to the manido',"
saying that she wished to have her life prolonged by means of the Mide'. He then smoked the tobacco
which her father had provided. A few days later a larger feast was held and many members of the Mlde'-
wlwln were invited. After all had smoked, the first Mlde'wlnl'nl told them her desire; then he sang these
two songs, the people dancing as he sang. Mi'jakiya'clg stated further that her health was entirely'
restored.
densmoeb]
CHIPPEWA MUSIC
No. 77. Healing Song
Sung by Ml/JAKIYA/C1G
93
Voice J =104
Recorded without drum
-* 0 +
We - on - dl - kwe - bi - wug
fe^
e We - na - bo - jo
ii
'-$&
~^t
S
kuo - mis
on - dl
M*
0
5=5
kwe
bi - wug
V- -* ^ -r +- V V V
e we - on - dl - kwe - bi - wug e
We/ondikwe/biwl!g/ They arc in close consultation
with their heads together
We'nabo'jo We'nabo'jo
Okwomisiim' And his grandmother
Analysis. — Two strongly ascending progressions at
the first of this song mark it as different from the ma-
jority of Mlde' songs. The dotted quarter at the begin- SoNG PICTURE NO<
ning of each measure forms the foundation of a simple ". we'nabo'jo
rhythmic unit which is repeated with little change mother areshown
throughout the SOng. In this drawing.
No. 78. Healing Song
Sung by Mi'jakiya'cig
(Catalogue no. 79)
Voice J — 100
Recorded without drum
gza r_i 4 0 [H-^ — « — .^— ^ — ^ — ^-hs* • — • — •-J
na-ni-do- wi - na - wa ni-kan-ug i hi e ni-ma-ni -
do - wi - na - wa ni -kan -tig i hi e
do - wi -ta
gg5^
S
ni - kan - us: i hi
ni - ma - ni - do ni - kan - ug
94
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
Nimanido'winawa' I see a spirit likeness
Nikan' In mY Mide' brother
Nimanido'witawa' He speaks with spirit power
Nikan' My Mlde/ brother
Analysis. — The rhythmic unit of this song occurs four times and
is readily discerned. Attention is directed to the range and tenor
register of this song, which was sung by an old woman. The voice
was harsh in quality, but fairly accurate in intonation.
No. 79. Healing Song
Sung by O'deni'gun
Voice J- 116
Drum J= 116
( Drum-rhythm similar to No. 1 )
(Catalogue no. 71)
m
^— p-
* — •_#_^_-B_i
P=F=F
«:
=gsia=js^fi
A - di- zo - ka- nug a - di - zo - ka- nug o he o he
gt^^
^-^ ,—
nin - do - ta - wi-o - ge- dji-ga - gi - gi-do-yan
0 ?-?-»-
-0-. -0-0-
• P-P-P-^-0-
a^^si
^i|_p^^=
3 f
— p—p—p-
HHE£eeS3=?3^
r* r r n- w^^rffrrnw^^
BUREAU OF AMERICAN ETHNOLOGY
BULLETIN 45 PLATE 9
GE'MIWUNAC
DBNSMOEE] CHIPPEWA MUSIC 95
WORDS
A'dizoka'nug In a dream
Ninan'dotagog' \ , ...
tn- •> -j / yi was instructed to do this
Dpgagi'gidoyan' J
Narrative. — The singer gave the following history of this song:
Many years ago there lived at Gull Lake a man named Niogi'cig ("four days").
This man had lain for a long time upon a bed of suffering and there seemed no help
for him. At last he decided to send tobacco to the Mide' men and see if they could
help him. They made him a drum and he played on it and sang this song, which
he composed himself. The words mean, "It was told me in my dream that I should
do this and I would recover."
Analysis. — The rhythm of this song is peculiarly energizing, and
when once established would undoubtedly have a beneficial physical
effect. The surprising feature of this case, however, is that the song
is said to have been composed and the rhythm created by the sick
man himself.
A repetition of this song was secured from the same singer after a
lapse of several months. The second rendition was identical with
the first, beginning on the same tone and showing faulty intonation
on the same tones.
No. 80. Healing Song (Catalogue no. 14)
Sung by Ge/miwunac/«
From the musical and the dramatic standpoint this is one of the
finest songs in the entire collection. It is a song which would be
sung when a member of the Mlde'wiwln was dying — when death was
expected at any moment. The music in the lodge at the time of
Flat Mouth's death was similar to that here given. It represents a
type of song which members of the Mide'wiwin are especially
reluctant to sing.
Analysis. — A peculiar quality of sadness and pleading is found in
this song, a quality heightened by the upward progression at the
opening of the song and the frequent use of the flatted second. This
accidental was always given accurately. Attention is directed to the
descent of a perfect fifth, followed by the descent of a perfect fourth,
at the close of the song.
a An aged man, one of the most eminent Mlde'wfnl'nl in northern Minnesota. (PI. 9.) His name was
known on all the reservations and he was held in the same high esteem everywhere. He was in charge
of the Mlde' ceremonies which were held during the last hours of Nigan'ibines' (see p. 51). The writer
had no conversation with him at that time. Returning to Leech Lake several months later she met
Ge'miwonac' again and asked him to sing. It was probably owing to a remembrance of incidents con-
nected with Flat Mouth's death that he was willing to sing this song. He stated that it was similar to
those sung during the last hours of Flat Mouth, but that he was then so overcome that he could not
recall exactly what songs were used.
96
RCREAU OF AMERICAN ETHNOLOGY
[bull. 45
Voice J — 56
Recorded without drum
-0- -•-• -•- -f- -19-
Ki - ma - ni-do-we
hi na loa ki
ma - ni-do-we
E^Sii^^
^eH^ee!
hi nawa ki - ma -ni-do-we hi nawa ki - ma -ni-do-we
/u na ?«a ki
ni - do - we At na wa
E^&^ifiF^mzZTTTtt^m
ma -ni-do-we hi na wa ki - ma -ni-do-we
hi na wa ki-
ma-ni-do - we
Tii nawa ki - ma-ni-do - we /ii na wa Ai
Kimanido'wihe' You are a spirit
Kimanido'wim I am making you a spirit
Enda'nabiyan' In the place where I sit
Kimanido'wim' I am making you a spirit
Songs Connected with Rare Medicines
Sung by 0/deni/gun
These are examples of the songs which may be sung at the dance
following an initiation and also in the lodges during the evenings
which precede the ceremony. They are songs which can be sung only
by those who purchase the right to sing them. O'deni'gun, who
sang all the songs in this group, is said to be "one of the most
powerful medicine-men on the White Earth reservation." (See fig. 7,
p. 100.)
The word "medicine" as here used refers to any substance by
means of which results are supposed to be mysteriously attained.
The narratives concerning these songs were given by the singer and
are transcribed as nearly as possible in the words of the interpreter.
DENSMOEE] CHIPPEWA Ml 'SIC 97
No. SI. Song OF the Flying Feather (Catalogue no. 191)
Voice J— 100
Drum J -108
(Drum-rhythm similar to No. 1)
I n-r-! ^— f — ri t-> I ?— f I—
F?— — F — U-^=
^ii^i^ii
4
Ya ha ya ha mon o - do-no-dji - i - gon ya ha ya ha
^^SSSE^
EF=tH:B
?«on a -do-no-dji -i-gon ya Aa ya ha mon o- do- no-dji -i -gon
i ?ia fta we a /ii a en - di-mu-sa -o - no -dji-gan
— • | ri-r— • • • • • • i — n~o-*
fc|±:
?/a Aa ya Aa mon o - do-no-dji - i - gon
ha ya ha
3^&=r=F=£
±m£
t=m=*=p
^E^m=i=t~£=t~m=i
%=,
mon o - do - no-dji - i - gon i na ha we a hi a
HARMONIC ANALYSIS
5 measures
2 measures
5 measures
ass
n
Migw un The feather
O'dono'djiigon' Is coming toward
Endimo'nondjiigan' The body of the Mide'wini'ni
Narrative. — In a wigwam lived a man and his wife, but
after a time the woman ran away. Then the man went to an
old Mide'wini'ni and said to him, "My wife has run away; I
wish that you would take pity on me and bring her back
again . ' '
The old man replied, "Your wife will come back to-night."
Then he added, "I am sure of this, because the sound of my
drumming is heard all over the world and when she hears it
she can not help coming back." So he began to drum and to sing this song, and the
man's wife came back to him. Then the old man gave him a charm so that his
wife would never run away again.
12692°— Bull. 45—10—7
Song picture no. 81. In
this drawing the persons
mentioned in the song
are represented twice.
The man and his wife
are shown in the wig-
wam; the man is shown
also beside the wigwam,
while his wife is at a
distance. (Compare
drawing of song no. 1.)
98
BUREAU OF AMERICAN ETHNOLOGY
[lH'LL. 45
Explanation of the flying feather and the flying man.— All the old Indians know about
the flying man. He was a very powerful Mide'" who could cause a feather to
come to him out of the air. This feather would come toward him and enter into his
body. Then the man could rise up and fly like a bird. The Chippewa depended
upon him in the wars with the Sioux, for he could fly through the air and spy out the
enemy. Once the Chippewa suspected that the Sioux were near and they sent this
flying man to look over the country. As the Sioux were sitting in their camp they
saw the flying man coming toward them in the air, and the leader of the Sioux said to
his men, "Fill up that pipe as fast as you can;" so they filled the pipe and lighted it.
They held the stem of the pipe up toward the flying man. They pointed it at him and
he could not see the crowd of Sioux. He did not see them at all. So he returned to
his friends and said that he did not see the Sioux anywhere. Then the Chippewa
marched across an open field. The Sioux were watching, but they let them pass.
Then the Sioux shot and killed them all, even the flying man.
Analysis. — This song is harmonic in character, beginning on the
octave, descending a minor third, and then following the tones of the
tonic triad. The song contains a short rhythmic unit which occurs
live times, giving the song its forceful, energetic character. The
rhythm is exceptionally strong and clearly marked throughout the
song.
No. 82. Song of the Man Who Succeeded (Catalogue no. 192)
Voice J = 100
Drum J= 108
(Drum-rhythm similar to No. 1 )
r7— rix-U-^-P— P— P — E ' P | P P s> — r.-Ti-0—0—»—0 rr?r*— • — *-te — : 1
mm^^^^^m^^mm
p—p—t*-
jtrPz
BE?
II
Nin'sa I myself
Ningagwe'djisea' Will test my power
Narrative. — There was once a man who had never tested the
power of his medicine in the hunt. It was a time of starvation
in the camp. The man himself was starving. A very old Mide'
had been training him for a long time, but the old man lived
far away. The man found himself thrown on his own resources.
He resolved to do his best, so he composed this song and went forth to hunt. The
venture was a desperate one, but he succeeded, and killed a bear. Afterward this
was his medicine-son,^.
a In conversational Chippewa the term Mide' is frequently used instead c" Mide'wini'ni, referring to
a male member of the Mlde'wiwin.
Song picture no. 82.
DENSMOKE]
CHIPPEWA MUSIC
99
Analysis. — The transcription is from the second of the four rendi-
tions on the phonograph record. In the third and fourth renditions
the words are slightly changed, thus affecting the note-values, the
melodic trend remaining the same. Even in this rendition the words
are too broken by interpolated syllables to be transcribed.
The intonation of the first note of the song is always clear. The
accidental is also clear, but the intonation is wavering in most of the
song. The accidental is the lowered sixth, which occurs frequently
in the Chippewa songs under consideration. There is no repetition
of a rhythmic unit in this song, although the various parts bear a
very close resemblance to one another.
No. 83. Song of a Scalp Dance (Catalogue no. 193)
Voice J =104
Drum J= 138
(Drum-rhythm similar to No. lj
=3^E___EEE— E
w^m^m^m^m^
9*4
a J J J. J
^m
— f±
sehh
WORDS
Ninga/onde/nimigo/ Some will be envious
Gi'witagi'cig Who are in the sky
Nina'niminan' I am dancing around
Ini'niwi'stigwan' A man's scalp
Narrative. — This song carries us far into the past with its war
parties and wild rejoicings of victory. It was sung on the return
of the Chippewa from the Sioux country, with scalps. After
the usual scalp dances there was held a special dance called a
" round dance," because it took place around a grave. If pos-
sible, this was the grave of a person killed by the Sioux, often
the grave of the person whose death had been avenged by the
war. At the close of this " round dance " the poles bearing the
scalps were stuck into the ground at the head of the grave, to
poles should decay and fall. The drawing of the song shows
during the dance, but only one placed at the head of the grave,
scalp of the person who killed the buried Chippewa.
Song picture no. 83.
The drawing shows
the dancing circle,
the men carrying
scalps upon poles, the
grave of the Chip-
pewa, and the pole at
thehead of thegrave.
stay there until the
three scalps upheld
This may be the
100
BUREAU OF AMERICAN ETHNOLOGY
(BULL. K
Analysis. — Beginning on the sixth and ending on the third, this
melody is somewhat unusual. The voice accent and consequent
measure lengths are unmistakable, the only irregularity being in the
first two measures after the rest, these measures being a trifle shorter
than the metronome time. The drum is exceedingly rapid and the
melody in very moderate tempo, a combination often found in songs
of mental excitement.
Fig. 7. Birch-bark rolls containing mnemonics of the songs connected with rare medicines, and used by
O'dPni'gun when singing these songs.
No. 84. Song of Good Medicine (Catalogue no. 194)
Narrative. — There were once two men, the elder of whom
was very disagreeable toward everyone, and would not believe
anything that was told him. The younger man was hisconstant
companion, but was entirely different from him in every respect .
One day the younger man secured a thread from the clothing
of the elder and took it to an old Mide', asking him to change
the disposition of the elder man by means of medicine. The
old Mide' took a leather, cut the quill, and put the threads
inside the quill with a little medicine. Then he fastened
the quill together in such a way that the cut was not visible.
The old Mide' also gave the younger man a feather which
looked exactly like the one with medicine in it. On his return
the younger man gave his friend the feather containing the
Song picture no. S4. The
feathers are seen near
the Mlde'wlnl'nl.
DBNSMOBE]
CHIPPEWA MUSIC
101
medicine and his friend placed the feather in his hair, supposing it to be an orna-
ment. Both men wore the feathers in their hair. After a time the disposition of
the elder man began to change. He grew kind and amiable toward everyone until at
last he was entirely cured of all his disagreeable qualities. This was the work of the
good medicine and the singing of the old Mide'.
Voice J = 92
Drum J =116
( Drum-rhythm similar to No. 1 )
1 ^. , -^ — 9—0 •— •-#-r»-i-P— P
p=
• — •-
f^f-f*
— • — • — = — —
1 | ft . m
-r-r
fa r f
c=£f-f-E?=l
0 f r r-
4—
-£=*-
-k-i — L
•>
» p • ■
— y-^ ,. H
=^-4| LJ=t-
r u- +-
P- f
-b^i
-J — H-
=H^=H
[Chippewa words not transcribed]
[Free translation]
I control him by means of the
feather so that he will lead a good
life
Analysis. — It was extremely difficult to find the metric unit of this
song. It was finally found in three consecutive tones which bore an
evident metric relation to one another. It was then discovered that the
same metric unit underlay the remainder of the song, and working
from these three tones it was possible to divide the song into note-
values; the notes were then grouped into measures according to the
accents. Having transcribed the song according to this process', the
rhythm, which seemed hopelessly obscure, was seen to be quite clear.
By tapping the rhythm of this song with a pencil one may gain an
idea of its peculiarity, and of the unmistakable manner in which the
entire song constitutes itself a rhythmic unit. The song was recorded
several times, the repetitions being identical in rhythm.
The tone marked •) was given in every instance less than its
proper time.
This song offers a distinct problem in tonality. The tones are
those of the fourth five-toned scale on G flat, but the first part of the
song affiliates only with the chords of the key of D flat and the last
part only with the chords of the key of G flat. Neither key is well
established by the melody. In ■ this, as in similar instances, the
signature at the beginning of the staff should be understood as
affecting the tones on the lines or spaces indicated, but not as imply-
ing that the corresponding key is fully established by the melody. ■
102
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 85. SONG OF THE CRAB MEDICINE-BAG (Catalogue no. 195)
Voice J= 104
Drum J- 116
( Druui-rhythin similar to No. 1 )
ggE^^^^-fejBggig^
A - ca wi he he a ne a-ca
he he a ne hi hi
gs^g^giES»^g|£
hi hi hi a-ca
he he a he a-ca we a ni ni hi hi hi
nin-da-we-dja ha ni hi hi ya ha ni hi ni hi hi hi hi hi wa-ca
WORDS
Aea'gecen' Like a crab
Ninda'badjia' I am using it
Narrative.— Two women are mentioned in this song. Their
grandfather gave them each a medicine-bag made of the skin of
a small crab. The two women wore these medicine-bags around
their necks and after receiving the bags they never lacked for
anything— they had all that they wanted. This was a good kind
of medicine-bag, for the crab has claws which hold very tightly, so
the medicine-bag enabled the women to hold on to everything
that was good.
cr resembles a chant. The
^
Song picture no. 85.
The drawing repre-
sents a MIde' bag
with two mi'gls be-
side it.
Analysis. — This s<
accents and the grouping of tones are clearly marked, but the metric
unit (J=104) varies constantly, the variation not being sufficient to
be indicated. The first word is so dismembered as to lose its identity,
only the first two syllables being retained. The syllable ne marks the
conclusion of the succession of syllables which represent the word.
The second word is mispronounced. The song continues one acci-
dental tone.
CHIPPEWA MUSIC 103
No. 86. Song of the Fire-charm (Catalogue no. L97)
Voice J — 69
Drum J— 126
( Drum-rhythm similar to No. 1 )
I-na-ko-ne ya fta ha ni-ya - we he he
na - ko - ne
ya fta Art ni-ya - we he he i- na-ko-ne ya ha ha ni-ya-
Ae Ae
^iHi^=^_^
i£
na - ko - ne ya ha ha ni - ya -
II
t=t
W=wzz*- — *— *
we he he i - na - ko -
ya fti /« ni-ya-we he
in - ya
Ae he
na - ko - ne ya ha ha ni - ya
Song picture no. 86.
The flames are seen
ascending from a
circle of Are.
Ina'kone' The flame goes up
Xiyawin' To my body
Narrative. — The greatest wonder that ever came to the Indians
was fire. Like everything else, it came to them through Mide'.
Someone asked, "What do you want to do with this?" A man
replied, "This fire is for warmth and for cooking." The Indians
were afraid of it at first, but soon learned that it was useful.
Once there was a fire burning on the ground and many people were sitting around
it. A man rose and walked away and put medicine on his feet. Then he came back
and stood in the fire, and he was not burned at all. After he came out of the fire all
the people looked to see his feet. He\vas barefooted, but he was not burned at all.
Some tried to find out how he did it. They said that they would walk away and
come back and stand in the fire, but the man said that they had better not try it.
While he was in the fire he was chewing medicine and spitting the juice on his body,
so that, although the flames came up all around his body, he was not burned at all.
Probably some of the very oldest Mide/ still have some of this medicine which they
can put on their feet and walk in the fire without being burned. They can also put
it on their hands and take hold of very hot stones without being burned.
Analysis. — This song differs from other Mide' songs in that the
singer sang the song through once, with the portion to be repeated,
104
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
and then gave the ejaculations wa hi hi hi hi, wa M hi hi hi, after
which he began at the beginning and sang the entire song again; this
being contrasted with the custom of repeating the last portion of the
song an indefinite number of times without a pause. Three complete
renditions were recorded by the phonograph. The slow voice-rhythm
and rapid drum are found in this as in other songs of mental stress.
The pulse of the measure-lengths is uniform throughout the song,
though some measures are in 2-4 and some in 3-4 time.
No. 87. Song of Starvation (Catalogue no. 199)
Voice J- 108
Drum J= 126
(Drum-rhythm similar to No.l)
ma - ma-dj i - dod ni - yau ya-we-nen ge - ma - ma -dji -dod
m
yau in -de - mu - sa
£ * r-t •
gi - o - ji - ton ni - yau
ss
ya-we-nen ge - ma-ma- dji - dod ni - yau ya-w8-nen
^fegEg^
i=t
* -*-
:t=
:*—(*-#-#-
1
rna-ma-dji-dod ni-yau ya-we-neu ge-ma-ina-dji-dod ni - yau
Awenen' Who
Gemama/djidod/ Will take
Niau/ My body?
Fkwe A woman
Inde/musa/ogio/jiton/ . Is making the medicine
Narrative. — In the olden times the Indians had no
weapons except bows and arrows, and they often suf-
fered greatly for lack of food. In those days they were very jealous of each other
because some could get more game than others. Sometimes a man who had plenty
of food was later "starved out" by other Indians until he was so hungry that he
could eat grass. This was accomplished by means of medicine.
Once a man who was nearly starving went to an old Mule' and asked for his help.
The old Mide' said, "Well, my grandchild, I will dp what you wish because I fur-
SONG PICTURE NO.
DENSMOREl
CHIPPEWA MUSIC
105
nished to the other parties the medicine which has harmed you." Then the old
Mide' hired a woman to go to the other camp and steal some small object from I heir
food supply. He wanted her to bring him a small bone from some of their game,
but at the last moment she refused to go. Then he hired another woman. She
worked at the other camp, and she brought the bone which the Hide' wanted. First
the Mule' put medicine on the bone; then he hid it and began to sing this song. In a
short time the people at the other camp could get no game at all. They almost starved,
but the man whom the Mide' was helping could get all the game that he wanted.
Analysis. — The accidental forms the chief musical feature of this
song. The sixth is lowered a semitone each time it occurs except in
the last word. In the first syllable of that word the F sharp is
sung accurately in each rendition of the song, while in the following
measure the tone is about midway between F sharp and F natural.
No. 88. Song of the Owl Medicine (Catalogue no. 200)
Voice #'= 104
Drum J= 112
(Drum-rhythm similar to No. 1 )
~m~ r*~ — • • — • — •■
=rEft:==£=B=£
jf—g-jj-
Nin - go - ca nin - ga - gwet - ni - se - a nin - go - ca nin - ga - gwet ■
mn -go - ca nin - ga - gwet - ni
nin -go - ca nm-ga -
^
:E=F==P=f*
3
:BE3F
gwet - ni - se - a in - de - mu - sa gi ■ we da ni no gi nin
go - ca nin - ga - gwet - nx - se
nm - go - ca nin - ga
§^S
Tffl—^Z
gwet - ni - se - a nin -go - ca nin -ga-gwet - ni
Nin'goca' I am the one
Ningagwet'sea' Who is trying to fly
Inde'musa' He is making it (the medicine)
Narrative. — This song was composed by the same old Mlde/ as the preceding song
and most of the other songs in this series.
Once a man and his wife came to this old MmV. He could see that they were
starving, and he said, "Stay here at my camp to-night." The snow was 3 feet deep,
and the man and his wife had been obliged to eat most of their dogs. The Mide/
gave them food and made them comfortable.
106
BUREAU OF AMERICAN ETHNOLOGY
[bull. 41
Late that night the old Mide' got ready to sing, and while he was singing he sent
an owl over to the camp where the Indians lived who were trying to starve this man
and his wife. The owl carried the bad medicine and sat at the head of their camp
that night, but they did not know it. This owl was just the dried skin of an owl
with the medicine inside of it.
The old rule was that if a man killed an animal he must first divide it among the
camps; then he must cook his own share of the meat and invite all
the old men to come and eat it with him. If he failed to do this
they would be jealous and would "starve him out," as was the case
with this man and his wife.
After singing this song and sending the owl to the other camp
the old Mide/ was sure that the man and his wife would have no
further trouble. lie also gave them medicine to carry, so that
they could get near to the animals when they were hunting.
All that the Mide' said was true. The other camp could get no
food after the owl went to the camp. The Indians there nearly
starved, but the man and his wife had plenty of game.
Song picture no. 88.
The Mlde'wlnl'ni',
the man and his
wife, are seen in the
wigwam, from which
the owl is flying.
Analysis. — This song contains no change of rhythm, an unusual
feature in a Mide' song. The key of A minor is plainly implied by
the melody, although there is very little to establish the key. The
song begins on the ninth and ends on the fifth. It contains no repe-
tition, the syllables ho ho ho ho, which indicate the conclusion of a
song, being given after each rendition.
Additional Mide' Songs
No. SO. Song of the Bear Path (Catalogue no. 236)
Sung by Maix'ans
This is said to be the oldest Mide' song known. If this were sung
in a Mide' gathering, it would be necessary to make large gifts to
the singer, and before singing he would call on the
Mide' manido'. No one would sing this song who
had not purchased the right to sing it.
Analysis. — The syncopation in this melody, as well
as the slight prolonging of many of the tones, makes
it difficult of accurate transcription. The melody
follows the intervals of the minor triad and fourth,
but it is the rhythm which impresses the ear most
strongly. This very peculiar rhythm is maintained
throughout the various renditions. The tone is
wavering, with the vibrato so frequently used in
these songs. The seventh of the minor scale does
not occur in the song. The seventh of the second
five-toned scale is the fifth of the fourth five-toned
scale, and is seldom omitted. Its omission seems to indicate a feeling
for the minor tonality as such, rather than a use of the tones of the
fourth (or major) five-toned scale with a different keynote.
Song picture no. 89. In
the Mide' there are said
to be many "paths;"
this song relates to the
"bear-path "and a bear
is shown in the draw-
ing. Birds are closely
associated with the sec-
ond, third, and fourth
degrees, and a bird ap-
pears in this drawing,
though it is not men-
tioned in the song.
CHIPPEWA MUSIC
107
Voice J\=: 168
Drum J = 96
(Drum-rhythm similar to No. 1)
-«- -#- £■ ■£- ■#■
:a^-a— U— f=fc=fc U—
:2zBu=z =
as
IS?
-t- .?L + -*-.
A - ni - ui - kwa - bi - kuu
* •-
ui - kan e /ie
=£^>=^=f=^l|i
ni - ni - kwa - bi
ni - kan
m
s^^L^f
j» — * * — »-=- — *— :
ni - ni - kx
kun - u ni - kan
he
tof ?^~? f==*^=g±=r-*--=^=z z
£=2±=3=
ni - kwa - bi
kfin - u ui - kan e
he
ni - ni - kwa - bi
-:^=£==3^
m
s=
--i?=f:
i^i^^ii
ni - ni -kwa-bi
kun-u ni - kan e nin - dan-di-wa-yan
m
WORDS
A/nini'kwabikiin/u We are following the bear path
Nikan' My Mide' brother
No. 90. "They are Making Me Old" (Catalogue no. 248)
Sung by Main'ans
Voice J = 120
Drum J= 120
(Drum-rhythm similar to No. 1)
+. jt. jl. fz £:' f: f: ■#-• -£ -#■ -•-
^g=E==g
•ni-do - wi-djig Ae fte Ae Ae Ae nin-ge - ka - i -gog o Ao
s+^g rinr r r csBrnj^r^ti^
^e
eu - da - na - bi - an t Ai fti hi hi
a he he he
TKuut^m^m.
m
yo a he yo a he he he he he he he yo a he yo a he
108
BUHEAU OF AMERICAN ETHNOLOGY
Song picture no. 90.
Through the power
of the MIde' a man
lives to be so old
that he leans on a
staff as he walks.
Manido'widjig' Those who arc spirits
Ningeka'igog' Are making me old
•o/T Endana'bian' Where I am sitting
Analysis. — This song is purely melodic, in char-
acter, following the intervals of the second five-
toned scale. It clearly illustrates the custom of
interpolating syllables in the words of the MIde' songs.
This is said to be a very old song.
No. 91. "To the Spirit Land"
Sung by Main'ans
(Catalogue no. 253)
Voice J- 138
Drum J— 112
(Drum-rhythm similar to No. 1)
S#r5_:
nr
-•-
f
— b*—
-•- -•- -*-
*» ...
f-
ff
r
-f-f-
ft -!
|'
^=fp-
J
i . i
A - ni - ma - dja ha ha a - ni - ma - dja ha ha a - ni - ma
ft— ?— P
vmg^^^^^^^^^m
dja ha ha a -ni -ma -dja ha ha a -ni- ma -dja ha ha a-ni-ma-
!3Efe£
E^^
dja ha ha
ni - ma - dja
- na - win
m&E£&=£^m^^^^m
dja ha ha ha a - ni - ma - dja
ha a - ni - ma - dja
Aoda'nawiiie' To the spirit land
A'nimadja' I am going
Hm'dinose' I am walking
Before singing this song the singer said, "It is hard now when a
man dies, but death was more tragic among the Indians in the old
days."
CHIPPEWA MUSIC
109
Analysis. — This song has the smallest range of any song analyzed.
It was sung rive times, each rendition ending on F sharp. The tempo
is plainly 5-4, and the pulse of the measure-beginnings is exact, though
too slow to be indicated by the metronome. The divisions of the
measure are imperfectly indicated by note values, the first tone in sev-
eral measures being slight!}' prolonged beyond the value of a dotted
quarter. It is these delicate distinctions in time values which give
to a song, as sung by the Indian, its peculiar expressiveness and
appealing quality. As in other songs of this character, the accidental
is the lowered sixth. At first the singer did not sing this accurately,
but later gave it with correct intonation.
No. 92. "I Will Sing"
Sung by Main'ans
(Catalogue no. 255)
Voice J =84
Drum J =92
( Druiu-rhy thin similar to No. 1)
^^Sp
ni-da - zon - ga-gi-dan e ni-da -zon- ga-gi-dan
ni - da - zon - ga-gi-dan e ni - da - zon - ga - gi - dan
-&$e^±
mi
ni-da - zon - ga - gi - dan e ni - da - zon - ga - gi - dan
MI -de - wi-win ni-da- zon - ga-gi - dan
ni- da
Nidazon'gagidan' I will sing with the great power
Mide'wfwm ( )f the Mide'wiwm
This song was sung during the preparation of the medicines, not
during the ceremony of initiation.
110
BUBEATJ OF AMERICAN ETHNOLOGY
[BULL. 4.r
Analysis. — This song contains one accidental tone, which occurs
only in the introductory measures. Considerable freedom is allowed
the singer in beginning a song. The portion of the song following
the word "Mlde'wrwm" is recorded seven times, each
repetition returning to the point indicated and com-
pleting the circuit with no variation except that the
two measures between the double bar and the word
"Mlde'wrwm" are once omitted. The transfer of
the accent from the second to the first syllable of the
first word is clearly marked. The melodic progres-
sions are of slight importance and the intonation is
faulty, the transition from one tone to another being
frequently glissando, but the metrical repetition of one word is con-
tinuous and emphatic.
ONG PICTURE NO. 92.
Wavy lines repre-
sent the song.
No. 93. "I AM WALKING" (Catalogue no. 256)
Sung by Maix'ans
Voice J — 92
I)i:i m J 92
( Drum-rhythm similar to No. 1 )
■^m
^t^±-~zr-—\—-r—\ -3—! H 1 = h- T-r
Da - bi-na-wan gi - no
yan i ne da - bi - na
^ — g_ 0 0 ,_, ?—?—* 0 ?—?-m. r ^
wan gi-no-se-yan i ne mCi-ka-de-wa-kfim-Ig
da - bi
m$
33
=t=t
B3
^
yan i ne da bi-na - wan gi-no-se
yan
Dabr'nawa' Toward calm and shady places
Nin/dinose/ I am walking
Muk'adc'wakum'ig . . . On the earth
Analysis. —The rhythm of this song is so irregular
as to make it difficult of transcription. The tempo
is rapid and the accents are slight. The phono-
graph record contains four renditions of this song, which are iden-
tical in every respect, both the peculiarity of the melody and
.Song picture No
DKNSMORE] CHIPPEWA MUSIC 111
the variations in rhythm being accurately reproduced. This is the
more interesting as the tonality in the first part of the song is so
exceedingly irregular.
No. 94. "There are Spirits" (Catalogue no. 1)
Sung by Gegwe/djiwe/b1nun/ ("trial-thrower "j
words o ^y*
Nigigwa'niwiri At Otter Tail CJO^T f^ ^\ If
Manido/ Are spirits Sung picture no. 94. The two figures
Wenenikan' Who is this, my Mide' represent MIde' manido', or spirits.
i (i Plates nos. 1 and 2 show similar fig-
..... . _. T ' . . ures on a Mide' drum. The animal
Niwawida l.nna .... 1 hat I am sitting with? was said to be a "lion," also a -large
T i • i ,i ■ • ■.,■ •., eat with horns." A similar figure was
In his dream the singer is sitting with drawn on lhe mde, drum uesed dur.
the mailido' at Otter Tail. ing the ceremony for Nigan'lblnes'.
(See p. 54.)
No. 95. "They Think Me Unworthy" (Catalogue no. 2)
Sung by Gegwe'djiwe'bIxun'
(n) \ I 4w^ && Nin'danawe'nimigog . . . They think me unworthy
Nikan'ug My Mide' brethren
Song picture no. 95. The ob- tvt 1 / 1 i / u> * 1 i j
. . ., ,„ , , Nucke/ekundeg/ But look and see
long represents the MIde'- . &
wTgan; the two larger figures Niwi'giwam' The length of my wigwam
are manido' and the smaller
ones members of the Mkle'-
wlwin.
No. 96. "The Water Birds will Alight" (Catalogue no. 3)
Sung by Gegwe/djiwe/binun/
WORDS
Keger/ Surely
Inda/bunisin/dangug/ Upon the whole length of my form
Bmes'iwug' ,. . . 1™ wafcer birdg ^ alight
Ekwa yaweyan' J
Song picture no. 90. The MIde'wini'ni is represented
in his own form and also in the form of a fish, upon
which the water birds alight. Ability to attract water
animals is greatly desired by members of the Mide'-
wiwln.
112
BUREAU OF AMERICAN ETHNOLOGY
No. 97. "The Sky Clears"
Sung by Gegwe/djiwe/binun/
words
Kegel/ Verily
Mijakwat' The sky clears
Nimitig/wakik/ 'When my Mide/ drum
Medwe'undjin Sounds
Nin'a For me
Keget/ Verily
A'natin' The waters are smooth
Nimitig'wakik' When my Mide' drum
Medwe'undjm' Sounds
Nin'a For me
(Catalogue no. 4)
SONG picture no. 97. The arch represents the sky
from which rain is falling. The two ovals repre-
sent quiet lakes. In his left hand the man holds
a MIdc' drum and in his right hand a stick for
beating the drum.
No. 98. "I Walk in a Circle"
Sung by Gegwe'djiwe'binun'
WORDS
Nikan'inan' My Made' brethren
Niwa'ninose7 I walk in a circle
Ma'kwa The bear
A/niija/ Goes on before
Mide'wigan'igmed ufi To the Mide/ lodge
Ningikino/amawa/ Telling
Gitina'craa'be The old Indian
Obagr/tciganun' What gifts to give
UUDTT
Song picture no. 98. On a pole arc hung
blankets and other gifts, which are to be dis-
tributed according to the directions of the hear.
The person to be initiated appears in the draw-
ing, also the hear, which is entering the Mlde'-
wlgan. Curiously, the bear's footprints precede
him, indicating the path he is to travel.
(Catalogue no. 5)
DENSMOHE] CHIPPEWA MUSIC 113
No. 99. "Our Dwelling is Royal" (Catalogue no. 6)
Sung by Deda/bicac/ ("bird flying low toward the earth")
WORDS
Ninda/binan/ Our dwelling
Ogimawan' Is royal
Ninda'binan' Our dwelling
Ayayado'daniiiY Is widely renowned
Song picture no. 100.
Wavy lines represent
the song.
Song picture no.
The Mlde'wlnl'nl is
seen in his own lodge,
roses being introduced
to express the idea of
beauty or luxury.
No. 100. "Vermilion, I Sing of Thee" (Catalogue no. 7)
Sung by Deda'bicac/
words
Onama/nahomaya/ Vermilion, I sing of thee
We'namana'homaya . . . O, Vermilion, I sing of thee
Vermilion paint was frequently carried and used
by theMlde/.
No. 101. "There Stands a Man:
Sung by Deda/bicac/
words
Ni'boini'ni 1 ™, . ,
1 here stands a man
\\ anihini in >Ti . , ,. T , ,
. ... „ , . It is for him I stand
Miwe djiga'boeyun J
No. 102. "I Stand"
Sung by Deda'bicac'
words
Niba'wiyan' I stand
Gidub'ena' Are you present?
Wa/weciga/bowiyan/ I rise, I stand
12692°— Bull. 45—10 8
(CatalogHe no. 8)
Song picture no. 101.
(Catalogue no. 9)
114
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 103. "I AM Named" (Catalogue no. 10)
Sung by Ge'miwunac'
words
Nimadwe/winigog/ I am named
Mide'winiwtig' By the leaders of the
Mide/
Wewunt/d umowad' To receive a share of the
offering
Song picture no. 103.
The many straight lines
diverging from the heart
and body of the man
suggest the importance
of being selected to share
in the division of the
offering.
No. 104. " I am Unable to Harmonize My Voice " (Catalogue no. 11)
Sung by Ge'miwunac/
Ningwinani'inwe
Gwinawi'nowe' .
Ni/tcanicina/be. .
Endan we'n id u n.'
Ni/tcanicina/be..
Endanwe'nidinY
Ningwa'nani/ina'
[Free translation]
I am unable to harmonize my
voice with the voices of my
fellow Indians which I
hear at a distance
No. 105. " They are Feasting with Me
Sung by Ge/miwunac/
ONG PICTURE NO. 104.
In this song the ques-
tion is that of beauty,
or "harmonizing the
voice," and a rose takes
the place of the wavy
lines which represent a
song when sung with
the "power of the
Mide'wlwln." The
other singers are repre-
sented by the figure in
the background.
(Catalogue no. 12)
Song picture no. 105.
This drawing suggests
the square bag used by
the Chippewa for stor-
ing and carrying rice.
Niwido'pamigog . . . They are feasting with me
Agwatci'siwayan' . . . The outside medicine-bag
Kima/nidom/ You are the spirit
Gigani'nigo' You will be called
DBNSMORB] CHIPPEWA MUSIC 115
No. 106. "The Sound is Fading Away " (Catalogue no. 13)
Sung by Ge'miwijnac'
WORDS
A'niwe'we The sound is fading away
Na'nowe'we It is of five sounds
Wa'naki'meniwa Freedom
Gi'niwe'we The sound is fading away
Na/nowe/we It is of five sounds
Song picture no. lor>.
The five wavy linos
represent the "five
sounds."
Song picture no. 107.
The person ad-
dressed is repre-
sented as a nianido',
in form like those
that appear in the
water.
No. 107. "You are a Spirit
Sung by Ge'miwunac'
(Catalogue no. 15)
Ninma/nidowe/nimig/
Gima/nido/wiin/
Nikane
Niyiin'
Mandun'
Ninikan'
Manidowa'nogwen'. .
■"ree translation]
You are a spirit, my Mide'
brother; you are pre-
pared, my Mide' brother
Tabulated Analysis oj 90 MkW Songs
Melodic Analysis
tonality
Major tonality 65
Minor tonality 25
( 'dialogue numbers of songs
90
Major tonality. —16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 28, 29, 30, 31, 32, 33, 37, 38,
39, 40, 41, 42, 43, 44, 46, 48, 49, 50, 51, 52, 53, 55, 56, 58, 59, 64, 65, 66, 67, 69,
73, 78, 79, 122, 123, 127, 128, 129, 130, 189, 190, 191, 192, 193, 194, 197, 199, 237,
238, 240, 241, 242, 253, 254. Total, 65.
Minor tonality .—27 , 34, 35, 36, 45, 47, 52, 53, 54, 57, 60, 61, 70, 71, 80, 124, 125, 126,
192, 195, 200, 236, 239, 248, 256. Total, 25.
Total number of songs, 90,
116 BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
TONE MATERIAL
Fourth five-toned scale 18
Second five-toned scale 11
Major triad and sixth 19
Major triad, sixth and fourth 2
Minor triad 1
Minor triad and fourth ". 2
Octave complete 3
Octave complete, except sixth 2
Octave complete, except seventh ... 10
Other combinations of tones 19
In two keys 3
Total 90
Catalogue, numbers of songs
Fourth five-toned scale.— -19, 21, 22, 24, 41, 48, 52, 53, 59, 79, 189, 190, 192, 193, 237,
238, 241, 242. Total, 18.
Second five-toned scale.— M, 35, 45, 46, 53, 124, 197, 236, 239, 248, 254. Total, 11.
Major triad and sixth.— 16, 17, 18, 20, 23, 25, 26, 28, 29, 31, 32, 33, 39, 42, 122, 129,
130, 191, 240. Total, 19.
Major triad, fourth, and sixth. — 127, 128.
Minor triad only. — 27.
Minor triad and fourth. — 61, 62.
Octave complete. — 56, 64, 73.
Octave complete, except sixth. — 71, 126.
Octave complete, except seventh.— 37, 38, 44, 46, 50, 58, 66, 67, 255, 256. Total, 10.
Other combinations of tones.— 30, 36, 40, 43, 49, 51, 54, 55, 57, 60, 65, 69, 73, 78, 80,
123, 195, 199, 200, 253. Total, 19.
In tiro keys.— 70, 125, 194.
Total number of songs, 90.
BEGINNINGS OF SONGS
On the twelfth 33 ' On the seventh 2
t)n the fifth (compass less than a
twelfth) 29
On the ninth 5
On the second (compass less than a
ninth) 5
On the octave 11
On the sixth 1
On the fourth 1
In two keys 3
Total 90
( 'atalogut numbers of songs
On the twelfth.— 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 31, 32, 33, 37, 38,
54, 55, 66, 69, 71, 80, 122, 189, 190, 237, 238, 240, 241, 242. Total, 33.
On the fifth.— SO, 39, 41, 42, 43, 44, 46, 47, 48, 50, 51, 52, 60, 61, 62, 63, 67, 73, 78, 79,
SO, 123, 126, 127, 129, 130, 197, 255. Total, 29.
On the ninth.— 192, 195, 199, 200, 253. Total, 5.
On the second.— 36, 40, 59, 65, 194. Total, 5.
On the octave.— 34, 35, 49, 58, 64, 124, 191, 236, 239, 248, 254. Total, 11.
On the seventh. — 45, 56.
On the sixth. — 193.
On the fourth. — 57.
In two keys.— 70, 125, 256.
Total number of songs, 90.
ENDINGS OF SONGS
On the tonic 56 [ On the third 10
Onthefifth 21 j In two keys 3
Total number of songs, 90.
dbnsmobb]
CHIPPEWA MUSIC
117
Catalogue numbers of songs
On the tonic— 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 35, 38,
41, 42, 43, 45, 51, 53, 55, 56, 57, 58, 61, 63, (i4, 66, 67, 71, 79, 80, 122, 123, 121, L26,
189, 190, 191, 192, 195, 197, 236, 237, 239, 210, 241, 242, 248, 254. Total, 56.
On the fifth.— 34, 37, 39, 40, 44, 49, 54, 59, 60, 62, 65, 73, 127, 128, 129, 130, 199, 200,
253,255,256. Total, 21.
On the third.— 36, 46, 47, 48, 50, 52, 69, 78, 193, 23S. Total, 10.
In two keys.— 70, 125, 194.
Total number of songs, 90.
ACCIDENTALS
Songs containing no accidentals 73
Songs containing accidentals 14
In two keys 3
90
Table of accidentals, showing catalogue numbers
Accidental.
Number
of songs.
Catalogue
numbers.
4
3
2
1
1
1
1
1
14
FIRST PROGRESSION
First progression upward
First progression downward.
90
Catalogue numbers of songs with first progression upward. — 54, 59, 78, 80, 194, 197, 248.
Total, 7.
Rhythmic Analysis
Songs beginning on the accented portion of the measure 23
Songs beginning on the unaccented portion of the measure 26
Songs transcribed in melody outline 41
90
Metric unit of voice and drum 1 he same 6
Metric unit of voice and drum different 23
Recorded without drum 61
90
Catalogue numbers of songs in which metric unit of voice and drum is the same.
238, 239, 248, 256. Totai, 6.
1. 122,
118 BUREAU OF AMERICAN ETHNOLOGY [boll. 45
Catalogue numbers of songs in which metric unit of voice and drum, is different. — 52, 53,
61, 123, 124, 189, 190, 191, 192, 193, 194, 195, 197, 199, 200, 236, 237, 240, 241, 242,
253, 254, 255. Total, 23.
Catalogue numbers of songs beginning on the accented portion of the measure. — 39, 52, 54,
55, 50, 57, 59, Gl, 62, 65, 69, 71, 73, 191, 192, 199, 238, 239, 240, 242, 248, 253, 256.
Total, 23.
Catalogue numbers of songs beginning on the unaccented portion of the measure. — 14, 53,
58, 60, 62, 63, 64, 66, 67, 68, 78, 79, 83, 122, 123, 124, 189, 190, 194, 195, 197, 200,
236, 237, 241, 255. Total, 26.
Structural Analysis
Melodic 70
Harmonic 20
90
Catalogue numbers of songs
Melodic— IK, 17, 18, 19, 21, 22, 24, 26, 28, 34, 35, 36, 37, 38, 39, 40, 41, 43, 44, 45, 46,
47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 64, 65, 66, 67, 70, 71, 73, 78,
79, 80, 124, 125, 126, 127, 128, 129, 130, 189, 190, 192, 193, 194, 195, 197, 199, 200,
236, 237, 238, 239, 248, 253, 255, 256. Total, 70.
Harmonic- 20, 23, 25, 27, 29, 30, 31, 32, 33, 42, 52, 53, 69, 122, 123, 191, 240, 241,
242, 254. Total, 20.
Total number of songs, 90.
SOCIAL SONGS ON WHITE EARTH AND LEECH LAKE
RESERVATIONS
Ina'bundjigan nagumo'win (Dream Songs)
The songs in this group are not composed in the usual sense of the
term, but are songs which are said to have come to the mind of the
Indian when he was in a dream or trance. Many Indian songs are
intended to exert a strong mental influence, and dream songs are
supposed to have this power in greater degree than any others. The
supernatural is very real to the Indian. He puts himself in com-
munication with it by fasting or by physical suffering. While his
body is thus subordinated to the mind a song occurs to him. In
after years he believes that by singing this song he can recall the
condition under which it came to him — a condition of direct com-
munication with the supernatural. It is said that no (hum is used
at this time, the drum being added when the song is rehearsed and
sung afterward.
These dream songs are considered under three divisions: First,
songs of the doctor; second, song of the juggler; and, third, songs
which were composed during periods of fasting or of mental stress
and were used later as war songs or in other connections. The songs
of each division are preceded by an explanation of the circumstances
under which they were composed or sung.
DEjfSMOBE] CHIPPEWA MUSK 119
1 . SONGS <»K THE DOCTOR
The Chippewa word dja'sakid is applied to two elasses of peo-
ple—doctors and jugglers. It is difficult for us to recognize the
relation between these two, for we are accustomed to regard medicine
as a science and jugglery as an imposition, but to the Indian mind
both are direct demonstrations of supernatural power received and
maintained by means of dreams or trances. For that reason it is
natural that the same word should be applied to each.a
The songs of a Chippewa doctor can not be bought or sold. Each
man must bear his own pain or endure his own fasting if he would ac-
quire power over pain in others. Sympathy and affection were very
real in the Indian wigwams. Definite knowledge of means for curing
the sick was very scanty, and in pathetic helplessness the Indian
turned to the supernatural for help. The methods used in the treat-
ment of the sick are repellent. For that reason it is good that we
first consider the element of poetry which underlay the best attempts
of the old-school Indian doctors to relieve the suffering of their
friends.
The fasts which w^ere practised by the Chippewa doctors usually
lasted ten days, the time being spent on a mountain or a great rock,
or in a tree. A doctor frequently built a kind of nest to which he
retired and whither he believed the manido' came to give him the
power to do his work.
The Chippewa doctor treats the sick by singing, shaking his rattle,
passing his hands over the body of the patient, and apparently swal-
lowing one or more bones, which are afterward removed from his
mouth. Each of these phases is considered indispensable to the treat-
ment. The rattle commonly used is shown in plate 1. It is made of
deer hide stretched over a wooden hoop and is 9^ inches in diameter
and one-half inch in thickness, and contains two or three small shot.
The manner of holding the rattle is shown in plate 2. The dis-
coloration on the front of the rattle and a small hole on the back are
indications of its being used in this position. The hole on the back
is exactly where the deerskin would be pressed by the second finger.
This hole has been roughly patched . The rattle was procured from
O'deni'gun, a man said to be especially skilled in the use of medicine,
who sang the Songs connected with Rare Medicines, in the present
series (see p. 90).
a The songs of the Chippewa doctor wore recorded by Maift'&ns ("little wolf"), the younger, a man of
middle age. .whose feet were frozen when he was a lad, and who walks on his knees. He related to the
writer the story of his experience at the time his feet were frozen. Accompanied by his grandparents he
started to walk from one village to another, hut a heavy snowstorm and intense cold overtook the little
party. His grandparents finally perished of cold and starvation, but he found his way to the village
with both feet frozen. Years of suffering followed. When the pain was most severe these songs.
Main ans said, one after another, " rang in his head.'' He spoke of the condition of intense pain as a
dream condition, implying that the intensity of the pain produced a state bordering on unconsciousness.
He said that years afterward he became a doctor aid these, songs were his special "medicine songs" in
c. ring the sick.
120 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
Two of the bones which are supposed to be swallowed are here
shown (fig. 8); these are 2\ inches long and about one-half inch in
diameter. The texture of these bones indicates that they are very
old. They were procured by the writer from a man on the White
Earth reservation who had been a doctor for many years but had given
up the practice. His well-worn rattle was also purchased, but this is
not shown in the illustration. On another reservation the writer was
shown a string of ten or twelve bones which the owner said he repeat-
edly swallowed in his cures of the sick. Large numbers of bones
are often "swallowed," each doctor having a collection of bones for
the purpose ; a number of these are frequently worn on a string around
his neck.
The sick person lies on the ground, the doctor kneeling at his right
side. (See pi. 10.) The doctor holds his rattle in his right hand and at
y Chippewa doctor in treating the siek.
his left hand is a pan or bowl of water in which lie the bones to be
swallowed. The doctor opens his mouth, protrudes his tongue, places
the moistened bone on it, and "swallows" it quickly. After shaking
the rattle a while he "swallows" another of the bones; usually this
procedure is continued until four or five bones have been disposed of in
this manner. One doctor stated that the bones lodge in the chest near
the shoulder. It is also said that there is a spirit inside the doctor
which takes the bones.
After "swallowing" the bones the doctor strikes his breast with the
rattle; then he leans over the sick person and strikes his back between
the shoulders with the rattle. It is claimed that this enables him to
see where the disease is located in the patient.
In giving the following three songs Main'ans stated that he always
sang the first song after he had looked at the sick person and decided
that he could help him. Afterward he sang the other two songs.
BUREAU OF AMERICAN ETHNOLOGY
ULLETIN 45 PLATE 10
CHIPPEWA DOCTOR TREATING THE SICK
DENSMORE] CHIPPEWA MUSIC
No. 108. Doctor's Song
Voick J — 76
Drum J 126
( Drum-rhythm similar to No. 1)
121
(Catalogue uo. 244)
Men -we - we - a - ci - yan a -km ge m8u-we-we-a - ci
- £i
-0-'-m--»- -<s>-' +--•-•-! • s^ — n ->> -0-
yan a-kifi ge ke - dan-dji - ka-ba-we-yan a-kln
ge men -
taatr u faM-^mrftfrr ii2 (tf OJmmi
we -we-a-ci - yan a-kin gremen-we-we - a - ci-yan a-kifi ge
Mfinwe'wea'ciyan' I am singing and dreaming in my poor way
Akin' Over the earth
Kedan'djikaba'weyan' I who will again disembark
Akin' Upon the earth
Analysis. — This song was extremely difficult of transcription. When
at last the transcription was made it was found that the four renditions
of the song were identical except in one or two unimportant measures.
The accidental in the first measure was given in all the renditions
with good intonation. The metric unit is very slow but is clearly
given; the measure accent however is very slight. The rhythmic
feeling throughout the song is for the single count rather than for any
grouping of counts.
No. 109. "I Go to the Big Bear's Lodge" (Catalogue no. 245)
Voice J~ 108
Drum J - 132
(Drum-rhythm similar to No. 1)
^p
I:'
g^g=g=ggg^
4=W
fcrt:*
Ki-tci-mak-wa he w I - gi-wam e
bi- ma - bl - I
In- di
Ki/tcimak/wa The big bear
Wi'giwiim' To his lodge
Babin'dige' I go often
122
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 45
Narrative.— Before beginning this song Maifi'ans said, " In my dream I went to the
big bear's lodge and he told me what to do. He told me how to swallow the bones
and I often go back to his lodge that I may learn from him again. This is what I say
in this song which I made up myself. Every dja'sakid has his own animal which he
sees in a dream and he learns from this animal what he shall do for the sick person."
Analysis. — This song is so short that the phonograph cylinder con-
tains nine renditions of it. The transcription is made from the most
regular rendition, but the intonation is faulty. The singer found much
difficulty in starting the song on the octave, owing probably to the
presence of the tenth so near the beginning of the song. The tenth
is a particularly hard interval to grasp. The rhythm is regularly main-
tained, especially the rhythmic unit which consists of the dotted
quarter or quarter notes preceded by eighths. The subdivision of
the third measure shows some indecision; the rhythmic unit has been
clearly given out, and the interest lapses slightly until the rhythmic
unit again asserts itself.
No. 110. "Going Around the World" (Catalogue no. 246)
Voice J — 72
Drum J = 138
(Drum-rhythm similar to No. 1)
Ka - wi - ta-kum-i - gic - ka - man a-ki we ml- dvve-kum-i - glc-
fl-s-^-jt-
^%t=L_*
wf7^"-
=S=g^^l^l
ka - man a - ki we
wi-ta-kum-i - gic-ka - man a-ki loe
dwt
kum-i
S^
• •
ml - dwe - kum
1
ka - man a-ki
gic
i_1:
m^^^^m^^^m^
ka - man
Ka'wita'kumi'gickaman'
Aki'
Mid we'k um i'nickaman' .
Aki'
I am going around
The world
I am going through
The world
dexsmoui: I
CHIPPEWA MUSIC 123
Analysis. — The chief rhythmic phrase of this song is short, clearly
marked, and frequently repeated. It is comprised in the second and
third measures of the song. This recurring phrase is easily traced
and is always given in exact time. The intervening measures are in
less regular time, the words somewhat resembling metric speech and
the note values varying accordingly. They are, however, indicated as
correctly as possible. The use of an accented sixteenth note before
a dotted eighth note is not common in the White Earth songs, but
was frequently found in the songs collected at Red Lake. This song
is melodic in structure, beginning on the sixth and ending on the
third of the fourth five-toned scale.
2. SONG OF THE JUGGLER
The supernatural power of the Chippewa doctor is shown by the
recovery of his patient; the supernatural power of the Chippewa
juggler -is shown by a performance which is universal throughout the
tribe. In this performance the juggler frees himself from the tightest
cords, causes his lodge to sway as though blown by a tempest, and
summons the spirits of wild animals whose voices are heard by the
spectators. The accounts of these performances are authentic, but
the ability to perform the feat has never been explained.
The following description of a juggler's performance was given in
connection with the song, the narrator stating that he had seen the
performance by Ce'deens' and had heard him sing the song at that
time.
The preparations were as follows : Eight poles were placed upright
in the ground. These poles were 12 to 14 feet high. They were sunk
in the ground 2 or 3 feet and were placed about 2 feet apart. They
were bound together by hoops, eight of which were fastened around
the poles at intervals. After the completion of this framework
Ce'deens' sang this song. Then he was bound with ropes made
of the inner bark of the basswood tree, his hands were tied behind
him, his feet were tied, a large stone was placed on his chest, and
he was bound around with stout gill nets, so that he was "like a
ball." Four men carried him eight times around the circle of poles
and then threw him inside the" inclosure. One of the four men then
called, "Come, ye people of the sky, come and smoke." In a few
moments the poles began to shake; the whole structure rocked
and swayed as though a tornado were blowing; yet there was no
wind and the sky was cloudless. Soon a voice was heard. The
voice said, "Who is tying up my grandchild? I am going to break
those ropes and throw them over where you are sitting."
The people seated on the ground, watching the performance, heard
the voice, and in a few moments they saw the ropes coming through
the air. These fell near the people, who hastened to examine them
124 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
and found that they were indeed the ropes with which the juggler had
been bound and that the knots in them were not untied. The ropes
had been slipped from the juggler's body and he was free.
The writer was recently informed by a reliable Indian that his uncle
was accustomed to perform this feat in the old days, and that after his
uncle joined the Christian Church he asked him to explain how he did
it. The old man replied that he could not explain it, as he was an
entirely different being at that time. His manido' animals were the
bear and the snake, and the Indian stated that, as nearly as he could
make out, his uncle seemed to imagine himself a snake when giving
this exhibition. Two intelligent Indians have given it as their opinion
that the juggler imagines himself to be some animal supple and lithe
enough to work itself free from the cords, and that this imagination,
or mental concept, is so strong that the body responds and does what
would be impossible at any other time. It has been frequently sug-
gested that the spectators are hypnotized and imagine they see what
they do not see. The foregoing explanation suggests that the hyp-
notic influence is exerted by the juggler on his own body. Music
is considered indispensable to the performance of this feat.
The Indian stated that he had seen the lodge bend like a sapling,
so that the top almost touched the ground, when his uncle was giving
one of these demonstrations. Afterward three men entered the
structure. One stood on the ground, one climbed halfway to the
top, and one to the very top. These men tried with all their strength
to sway the structure, but could not move it in the slightest degree.
A juggler's performance on the Grand Portage reservation was
described to the writer by an eyewitness, who said that "a friend
who lived many miles away was suddenly present in the lodge"
and that she "heard his voice distinctly." There were also many
wild animals in the lodge whose voices she recognized. Spectators
are not allowed to enter the lodge, but they hear these voices as
they stand outside.
This account shows the association of music and mental influence,
which was also mentioned in connection with the medicine songs of
the Mide'wiwin.
These performances were often given at the time of Mide' ceremo-
nies, but were not directly connected with them. As stated else-
where, the jugglers were not always members of the Mide'wiwin.
Attempts were made at times to counterfeit the performances of
the jugglers. The following incident was related to the writer:
There was a man who pretended to be a juggler, but the Indians knew that he was
a fraud. This man said that he liked to have the lodge built on the shore of the
water when he gave an exhibition. That was because it would sway easier if the
poles were stuck in soft sand. Once this man was giving an exhibition and he
climbed up inside the lodge to shake it. Of course he had to do this because he was
not a regular juggler and did not know how to do it right. He was almost at the top
densmore]
CHIPPEWA MUSIC
125
and was swaying it back and forth when some boys pulled up the poles and threw the
man and his lodge far into the water. No one paid any attention to the man after
that' (Catalogue no. 213)
No. 111. The Song of Ce'deens' (Juggler's Song)
Sung by Ga'gandac/ (" one whose sails are driven by the wind ")
Voice J ^120
Drum J- 126
_4n_1=
-JfL -,.
mm
&=F=
EE3
--4±— 4+ — I P r0 • • r-0 • 0 1
#
:£=«=?:
m
W^=W
t—t—P
li—*—& hBHr
r rr.'F
£♦
U=Ft==^=l=t
m
M
Ka-be-bin-de - ge no- sis a ki - wi-gi-wani-in
m
S
Zp=pi
*—*—*
Drum-rhythm
Drum J= 126
r£zzz*z
s
&
Kabebin'dige' I have gone
No'sTs My grandchild
Kiwi'giwam'ifi Into your lodge
Analysis. — This song was sung three times and in each rendition
the sixth was lowered a semitone in the first measure and a smaller
interval in the remaining portion of the song. The second of the
measures containing the words was sung slower to permit the enunci-
ation of the syllables; otherwise the rhythm of the voice was steadily
maintained. The drum was silent when the words were sung.
126
BUREAU OF AMERICAN ETHNOLOGY
3. DREAM SONGS AFTERWARD USED AS WAR SONGS OR OTHERWISE
Like the other dream songs, these were said to have been composed
during a dream or on waking from a dream. Many of them are asso-
ciated with some animal which becomes the manido' of the dreamer.
The words of many of these songs suggest that the dreamer contem-
plates nature in a certain aspect so long and so steadily that he
gradually loses his own personality and identifies himself with it. In
other instances he imagines that animals or objects in nature are sing-
ing and that he learns their songs. It has not been definitely ascer-
tained whether the singer imagines he repeats the melody or only the
words of such songs.
All the dream songs are supposed to be spontaneous melodies, and
therein lies their chief importance in connection with the analytical
study of Indian music.
No. 112. Song of the Trees
Sung by Ga'gandac'
Voice J— 100
Drum J =120
(Druui-rhy thin similar to No. Ill)
(Catalogue no. 206)
m^^m^^^^mm
No -diu e - ta nin-go-tan
^^a^^^g^
mm
m
-*T—*-
0
Nodln' The wind
E'ta Only
Ningotan/ I am afraid of
Narrative.— The following explanation of this song was given by Main'ans: The song
belonged to a certain man who sang it in the dances which were held before going to
war. When this man was a boy he had a dream and in his dream he heard the trees
CHIPPEWA MUSIC
127
singing as though they wore alive; they sang that they were afraid of nothing except
being blown down by the wind. W hen the boy awoke he made up this song, in which
he repeats what he heard the trees say. The true meaning of the words is that there is
no more chance of his being defeated on the warpath than there is that a tree will be
blown down by the wind.
Analysis. — The rhythm of this song is energetic, vivifying, and
full of action. The rhythmic unit is short and easily recognized, con-
sisting of a measure in triple time followed by a measure in double
time. The song was sung five times, the renditions being identical
in every respect. The rhythms of voice and drum are greatly at
variance, but each is steadily maintained. The harmonic structure
is evident and consists of a major triad in the upper and in the lower
octave with the sixth as a connecting tone.
No. 113. Song of the Thunders (Catalogue no. 207)
Sung by Ga'gandac'
Voice J= 120
Drum J- 120
(Druin-rhythin s
ar to No. Ill)
±. .?- ^ JL ^
-^-5-4 —
ft
\7~
H2* 1
4=
Na - nTn - go - di - mink
i we nin - ba - ba - ca- wen -
dan ni - yau
ba - ba - ma - ci
clg
§S
l£=P
^
Na/ningo/dinunk/ Sometimes
Ninbaba'cawen'dan I go about pitying
Niyau' Myself
Baba/maciyan/ While I am carried by the wind
Gicigufi' ......... Across the sky
128
BUREAU OF AMERICAN ETHNOLOGY
This song forms an example of the strange personation which char-
acterizes many of the dream songs. In this the singer contemplates
the storm mystery of the sky until he feels himself a part of it and
sings its song.
Analysis. — This song is divided into two parts. The first contains
only vowel syllables and consists of nine measures, in which the
rhythmic unit occurs twice. This unit is comprised in the first three
measures. The second part of the song contains the words. This
part of the song constitutes a rhythmic unit in itself. Attention is
directed to the harmonic character of the song, although the melody
moves with great freedom.
No. 114. "My Voice is Heard" (Catalogue no. 208)
Sung by Ga/gandac/
Voice J= 112
Drum J — .116
(Drum-rhythm similar to No. Ill)
mmm^^m
t-
(2 — r-t — n-
Mi - si - w6 a - kin e nin-de - bwe-wi- duni
isfe
f r-^rp|^^-f^==4p^=^=^
l^=L^=t
CHIPPEWA MUSIC
129
Misiwe' All over
Akm The world
Nin'debwe'widum' My voice resounds
In this song, as in the preceding;, the singer contemplates the
storm. He hears the reverberation of the thunder and in his dream
or trance he composes a song concerning it.
Analysis. — This song is definitely major in tonality and was sung
in exact time throughout. The metric unit of the drum is slightly
faster than that of the voice and produces an effect of hurrying the
voice. The lowered sixth occurs as an accidental. It is impossible
to indicate the exact deviations from pitch and the peculiar porta-
mento of voice used in this song, but the manner of the rendition
strongly suggests that they are used to heighten the effect and do
not form an actual part of the song.
No. 115. "The Approach of the Storm" (Catalogue no. 209)
Sung by Ga'gandac/
Voice J— 112
Drum J - 116
( Drum-rhythm similar to No. Ill )
tfi gi - cig-un c - bi-
ggf^Sf^gg
gweu ka - bi - de - bwe-wi-dun
WORDS
Abitu' From the half
GieiguiV Of the sky
EbigwSn' That which lives there
Kabide'bwewiduii' Is coming, and makes a noise
The Thunder manido' represents to the Indian the mysterious
spirit of the storm, and he imagines that this manido' sometimes
makes a noise to warn him of its approach. This is his interpreta-
12692°— Bull. 45—10 9
130 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
tion of the distant thunder which precedes a storm. Hearing this,
the Indian hastens to put tobacco on the fire in order that the smoke
may ascend as an offering or signal of peace to the manido'. The
idea which underlies the song is, "That which lives in the sky is
coming and, being friendly, it makes a noise to let me know of its
approach." This means much less to the white race than to the
Indian. We are accustomed to noise; the Indian habitually ap-
proaches in silence, unless he wishes to announce his presence.0
Analysis. — This song is harmonic in structure and contains the
tones of the fourth five-toned scale. More than a year before the
making of this record the same song was secured from a younger
singer. On comparing the two records it is found that they differ
much less in rhythm than- in melodic progressions. The younger
singer used exactly the same tones, but in some parts of the song he
used the intervals in a slightly different order. The characteristic
rhythm is identical in the two records.
No. 116. "As the Hawk Soars" (Catalogue no. 2 10)
Sung by Ga'gandac'
The second word in this song suggests to the Chippewa the course
of a bird which flies forward a short distance, then circles, and then
flies forward again. The Chippewa thought that the hawks were
halfway to the top of the sky because they flew so high, and this
song was probably inspired by the sight of a flock of hawks flying
and circling high overhead.
Analysis. — The harmonic structure of this song divides it into two
parts, the first based on the minor triad with the minor seventh6
added, and the second on the tonic triad and sixth. The tones of
the first chord are repeated during fourteen measures, the F sharp
sinking to E on the fifteenth measure. This introduces the tonic
chord in the key of A, and the latter part of the song is composed
of the tones of the tonic triad and sixth in the key of A. The first
part of the song suggests the close attention with which one follows
moving objects; the satisfying resultant chord and the free melody
with its even rhythm suggest the return of the singer's attention to
his song and to his more immediate surroundings.
a The Indian who composed this song is now a clergyman of the Episcopal Church, Rev. George Smith.
When he was a little boy he often painted his face and fasted five days because he wanted to be a "spirit
man; " when he was 15 or 16 years of age he composed this song in his dream. The preparation for his
life work was according to the native customs, but he is doing that work in the white man's way.
b Prof. J. C Fillmore found this tonality among the Dahomey songs collected at the World's Colum-
bian Exposition at Chicago and Mr. II. E. Krehbiel (in a paper read before the Folk-lore Congress, July,
1894) cited similar instances among the songs of the American negroes. Professor Fillmore recorded a
similar song from the Nass River Indians living in British Columbia. This tonality is found also in the
following songs of the present series: nos. 51, 116, 127, 172.
DENS.MOW-:
CHIPPEWA MUSIC
131
A correspondence between the idea of a song and its melody or its
rhythm can not be taken too liter .illy or pushed too far. Music can
not imitate a scene in nature or express a mental concept, yet either
may inspire a song. Under such circumstances the song may reflect
in some degree the source of its inspiration, yet it would be impossi-
ble, in any instance, to infer that source from the character of the
song.
Five renditions of this song were secured, the only variations being
in the first part; the harmonic material remained the same, but the
order of progressions differed slightly. The second part was iden-
tical in all the renditions.
Voice J ;^ 112
Drum J= 126
(Drum-rhythm similar to No. Ill )
msi^^^m=m^mm
^mii^ii^
g^sgiKgg
mm
Wl - gl - Cic
Sfe3_I_LLr_i=^
1 I I
mi-kwe-kwe - ki - ka - ba - wi - yau
t-
m$^m
i=^£
=i=t
S=z*l
II
14 measures.
ANALYSIS
1 measure. 2 measures. 3 measures.
Abita'wigi'cig Halfway up the sky
Bimikwe'kwekika'bawiyan' I am flying
132 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 117. "In the Southern Sky" (Catalogue no. 21 1)
Sung by Ga'gandac'
Voice J^ 112
Drum J = 116
( Druin-rhythm similar to No. Ill )
s^j^M^mm^mmm
mm
rV.f f
JlJTLFJL^:
ii
SJ
3:
M
=e33
L_:l .
qc=p=
A -jig -wa gi-cli.
m
s
^z±
-+T-1-&-
3=
ca-wun-u - bi-
yan
Ajig'wa Already
Gi'cigufi' In the sky
Cawun'ubiyan' I am sitting in the south
Analysis. — In harmonic structure this song is similar to the
preceding, the first fourteen measures being based on the tones
of the minor triad with the minor seventh added, the sixteenth
measure containing lower E, the remainder of the song being com-
posed of the tones of the tonic triad. The last part of the song is
simpler than that of the preceding song, but the general character is
the same. It may be possible that both songs were composed by
the same man, this coming first in the order of composition. In this,
as in the preceding song, the last part was always sung in exact time.
No. 118. "Manido' Listens to Me
Sung by Ga'gandac'
(Catalogue no. 212)
Analysis. — This melody contains only the tones of the major triad
and sixth. The song was sung twice, the second rendition beginning
on the last count of the fourth measure, suggesting that the first
measures are an introduction. The custom of using an introduction
to the first rendition of a song has already been mentioned. In this
introduction the singer is allowed considerable freedom.
CHIPPEWA MUSIC
133
The meaning implied in the Chippewa words is that the manido'
who listens will grant all requests of the singer.
Voice J— 112
Drcm J— '120
( Drum-rliylhm similar to No. Ill )
^fe^g^^g^g
±~^
' li
m$M. — ' llj ' Nf^s
m
■e~& —
fe
W
sks^
• • • -0- -e-
=B=F
Nin bi-sTn-dag be -cig ma - ni-do
ggggggg
SI
^j
-* —* — "p:
WORDS
Nin To me
Bisin'dag He listens
Be'cig One
Manido7 Spirit
No. 119. SosfG OF THE CROWS (Catalogue no. 260)
Sung by Henry Selkirk
Narrative. — The following explanation of the song was given by the singer:
A young man was fasting where his father had taken him. It was in the fall, and
the flocks of crows were getting ready to go south. The young man heard the crows
in the trees and imagined that he learned this song from them. Afterward the crow
was his manido7 because it had given him power to understand the language of the
crows. The words of the song mean that the crows are the first birds to come in the
spring, and so the old-time Indians thought that the. crows brought the spring rains.
This was first a dream song and afterward it was used as a war dance.
134
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 45
Analysis. — This melody contains only the tones of the fourth five-
toned scale. Both melody and rhythm are of unusual simplicity.
Voice J- 108
Drum J- 116
( Drum-rhythm similar to No. Ill )
g&E&E^m&^E^&^^i
nin-wSn-dji-gi - mi -wuil an-deg-nin-di - go
Be'bani'gani' The first to come
Nin/digog/ I am called
Binfi'siwiig' Among the birds
Nin'wendjigi'miwuiV I bring the rain
Andeg'nindigo' Crow is my name
The two following songs were not composed during dreams, but
during great mental stress. They are classed with the dream songs
because they are spontaneous melodies, said to have sprung from the
lips of the singers without conscious effort on their part. These
songs were given by a particularly reliable singer.
No. 120. Song of the Deserted Warrior (Catalogue no. 259)
Sung by Henry Selkirk
Voice J . — 60
Drum J^= 104
(Drum-rhythm similar to No. Ill)
£=£=£
y:* \-
Nin - da
d ft in
E§i3
ma - dja - yfiu
(l a
Nindagi'tcinisa'nend urn' I would be very sorrowful
Tciwa/baminan/ To see you
Tcima'djayun' Go away
Narrative. — About forty years ago the Chippewa were at war with the Sioux near
Turtle mountain in North Dakota. The Chippewa were concealed in a cornfield
ready to attack the Sioux when their ambush was discovered, and in the fight one of
DHNSMOBBI
CHIPPEWA MUSIC
135
the Chippewa was shot through the breast. The man's name was No'diniik'wiim,
which means Wind-Thunder. His friends attempted to carry him with them, but it
seemed that he would surely die, and their own lives were in danger; so they left
him with his face painted and a feather in his hair, to die like a warrior. After they
had left him they heard him singing this song. It was an entirely new tune and two
of the men remembered it and sang it after they reached home. The song affected
the men as no entreaty could have done. They rushed back, dragged the wounded
man to the water's edge, lifted him into a canoe, and paddled away safely. The man
recovered and now lives at Pine Point. The singer said that he recently saw the
man and also the scar of the wound.
Analysis. — The metric unit in this song is the measure, not the indi-
vidual count in the measure. This unit is regular. The divisions of
the measure are not always exact, but are indicated as nearly as
possible. The melody tones comprise the minor triad and sixth.
No. 121. "I Am Afraid of the Owe" (Catalogue no. 261)
Sung by Henry Selkirk
Voice J — 152
( Recorded without drum)
ni - wek ka - ye
wek ka - ye
V
!=t
ko - ko - ko nin - go
±=e
-7*=p:
3Et
:t=t
ne - ji
ke
/ft - bi
llet^Ezyit
E=F=th==t=^:
a be a nin be a ya
ya be a ya
II
Eniwek'..
Gaye'
Nin
Ko/kokoo/
Very much
Also
I
Of the owl
Ningosa' Am afraid
Nejike'wubianin' Whenever I am sitting alone in the
wigwam
Narrative.— The singer stated that he composed this song himself when he was a
child. The circumstances were as follows: His mother had gone to a neighbor's,
leaving him alone in the wigwam. He became very much afraid of the owl, which is
the particular terror of all small Indians, and sang this song. It was just after sugar
making and the wigwams were placed near together beside the lake. The people in
the other wigwams heard his little song. The melody was entirely new and it all racted
them so that they learned it as he sang. The men took it up and used it in their moc-
casin games. For many years it was used in this way, but he was always given the
credit of its composition.
136
BUREAU OF AMERICAN ETHNOLOGY
[BULL.
Analysis. — This song contains only three tones and may be said to
consist of the minor third with the tone above as a preparatory tone.
The chief rhythmic phrase is the quarter note followed by two eighths,
a subdivision of a double measure which suggests fear.
Dream Songs — White Earth Reservation
Melodic Analysis
TONALITY
Number
of songs.
Catalogue numbers.
12
259 261
Total
14
TONE MATERIA I,
Fourth five-toned scale.
Major triad and sixth
Minor triad and fourth
Other combinations of tones.
Total.
200, 207, 209, 210, 21 1 , 244, 240,
260
212,21:5,245,259
261
BKOlNNINliS OF SONUS
Beginning on the twelfth.
Beginning on the tenth...
Beginning on the octave. .
Beginning on the sixth. . .
Beginning on the fourth..
Total.
206,207,209,210,211,212,213
244
245,259,200
208,246
261
ENI)IX<iS (>K SONGS
Ending on the tonic.
Ending on the fifth..
Ending on the third.
200, 207, 209, 210, 211, 212, 213,
245,260,201
FIRST PROGRESSIONS
First progression downward.
First progression upward —
Total
200, 207, 208, 209, 210, 211, 212,
244,240,201
213,245,259,260
DBNSMOEH]
CHIPPEWA MUSIC
137
Melodic Analysis— Continued.
ACCIDENTALS
Number
of songs.
Catalogue numbers.
11
1
1
1
206, 207, 209, 210, 211, 212, 245,
240,259,260,261
213
20S
244
14
Rhythmic Analysis
10
4
211, 212, 259, 200
14
12
207
261
14
Structural Analysis
Melodic...
Total.
206, 207, 209, 210, 211 , 212, 213,
244
208,245,246,259,260,261
Miga'diwin'ina'gumo'win (War Songs)
A wide range of material is included in this group. There are songs
which have been used to incite war, songs of the warpath, songs con-
cerning the brave deeds of warriors, and songs of the scalp dance.
The border line between groups of songs is not absolute and all our
classification must be regarded as general in character; thus there are
war songs among the dream songs and there is a scalp dance among
the "songs connected with special medicines." In these instances
the writer has followed the Indian who made the phonograph record.
Many songs are used in war dances. The following group may be
considered, however, representative of the class.
The drumbeat of the war dance is in even strokes; the drumbeat
of the scalp dance is an accented stroke preceded by an unaccented
stroke about one-third of its length. These arc the ordinary rhythms
but they may be varied by drummers of proficiency.
138
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 122 (Catalogue no. 179)
Sung by Aki'waizi' ("old man ")
Voick J— 69
Drum J— 126
(Drum-rhythm similar to No. 1)
Analysis. — This song is based on the second five-toned scale of E
flat, the harmonic divisions being the minor third E flat-G flat
followed by the major third G flat-B flat, the song closing with a
return of the minor third E flat-G flat.
The rhythm of the voice is plainly J =69, while the beat of the
drum is in unaccented eighths, J = 126; if the drum were J =138 we
should have four drumbeats to one melody note, but repeated tests
have failed to bring the two parts into this relation. The drum is
plainly of a slightly different unit from that of the voice and persist-
ently retains that unit. The tempo of the voice is unusually even
in this song.
No. 123
Sung by Main'ans
(Catalogue no. 182)
Voice J — 76
Recorded without drum
\
4=
-•-
v —
n
-? — •
r r
3
— 0-
r
4=
-4-4-*-
=1
4
3
# .
i^h
^
Analysis. — The principal intervals of progression in Chippewa
songs are the intervals of the third and fourth. This song is very
unusual in that its principal melodic feeling is for the interval of
the second. The dominant of the key is unusually prominent. The
third of the key does not occur in the song, yet the song is readily
accompanied by the tonic, subdominant, and dominant chords of
the key. The song contains seven measures and is an excellent ex-
ample of the entire song constituting a rhythmic unit. Six rendi-
tions appear on the phonograph cylinder.
DENSMORE |
CHIPPEWA MUSIC
No. 124
Sung by Ga'gandac'
Voice J — 200
Drum J __ 1 1 2
(Drum-rhythm similar to No. Ill)
-(2- -0- -fiL. -&- -&- _
^iiW
139
(Catalogue no. 205)
-#-<=—
I
aisl
-# P— •
;s|S:
4=^:
^=»
»B^
fcv
l-4-r- — Mbr — E=B=a
s^
^Hill
t-
^m^m&zgm
This song is said to have been used about forty-five years ago by
Chippewa who were trying to incite the tribe to an attack on the white
settlers. The attempt was unsuccessful and it is the pride of the
Chippewa that they have never been at war with the white men.
Analysis. — The chief interest of this song lies in the rhythm, the
general effect of which is martial and inspiring; yet the measure-
lengths are very uneven, producing a rhythm which is fascinating in
its irregularity. This is an instance of a special rhythm used for a
special purpose. The object of the song was to control the will and
influence men to act against their wishes and judgment. In view of
this fact the peculiar rhythm of this song is worthy of attention.
The tempo is very rapid, adding to the effect of the rhythm. Further
consideration of rhythm of this character is given in the chapter on
Mlde/ Songs.
No. 125 (Catalogue no. 215)
Sung by Ga/gandac/
Analysis. — This song is said to have been learned from the Sioux.
Its harmonic structure is interesting. The song is in the key of
D flat, the melody showing the octave complete except the seventh.
The song is in two parts, each of which opens with the chord of the
relative minor. This passes to the tonic major chord by the change
140
BUEEAU OF AMERICAN ETHNOLOGY
[bull. 4."
from B flat to A flat. The following section of each part contains
only the third F-A flat, with B flat as a bytone, yet the major chord
of D flat is plainly implied;
Voice J— 88
Drum J -88
( Drum-rhythm similar to No. 1 )
ill
:9Mi
S3
E iEfEEg
HARMONIC ANALYSIS
6 measures 5 measures 5 measures
5 measures
1 '
3 II
*-!.. V U
m ii
J Wtz.
9 v b
No. 126. Little Eagle's Song
(Catalogue no. 229)
Sung by Ga'gandac'
This is a song in honor of a warrior named Little Eagle, who died
about November 1, 1907, at an advanced age.
O'Mtci'ta is a Sioux word. White Earth was the old battle ground
of the two tribes and the word suggests that the song was composed
by the Sioux, who do not grudge their tribute to a brave man,
though he may be their enemy.
Analysis. — The tones of this song are those of the second five-
toned scale of F, with G as a passing tone. The unusual interest of
the song lies in the E flat of the fourth measure, showing the interval
of a whole tone between the seventh and eighth of a minor key.
This is a characteristic of early English plain song.
The rhythm of the voice is maintained quite steadily at J =72,
while that of the drum is J =108, each stroke preceded by a short
unaccented beat. It will be readily seen that this is in the ratio of
two voice pulses to three drum pulses, but the stroke of the drum
CHIPPEWA MUSIC
141
invariably, follows the singing of the tone, and the voice and drum
never coincide. This song shows no descending interval larger than
a minor third, and the descent of the minor third occurs seven times
in the melody.
Voice J =72
Drum J = 108
! Drum-rhythm similar to No. Ill )
_*. .*. -#_ 3
i$fc2
£_tzt:
:
siB^Eiqi
_C_^_P
mm&zs^^m^
o * *- -»- f- P + fsf-
O -ki-tci-ta mi - gl-sins
±^—m
mm^^
H» •— •— •
O'kitri'ta Leader of the warriors
MigMns/ Is Little Eagle
No. 127
Sung by Ga'gandac'
Voice J — 66
Drum J = 80
( Drum-rhythm similar to No. Ill )
(Catalogue no. 230)
SSg_g^ffi^E
:^=*=p:
n
T^—t—P-
HARMONIC ANALYSIS
3 measures
V
J*
II
142
BTJBEAU OK AMKIIICAN ETHNOLOGY
This song is said to have been learned from the Sioux. The
melody is divided into two parts of three measures each. The first
part contains the tones of the minor triad with the minor seventh
added, the sixth being used only as a passing tone. This is a very
primitive tonality. Among the songs of the Chippewa this tonality
is sometimes found in part of a song, but the song usually merges
into a diatonic chord before the close. (See songs nos. 116, 117, 172.)
Five renditions of this song were recorded ; these are identical
except that the first measure occurs only in the first rendition. The
harmonic peculiarity of this melody is best seen by playing the
chords which form the two parts of the song, as given at the close of
the transcription.
No. 128. Song of the Loons (Catalogue no. 271)
Sung by Ga'tcitcigi'cIg ("skipping a day")
Voice J= 96
Drum J — 116
( Drum-rhythm similar to No. Ill )
-r- -r- - . s*
wm
p f J-.r- 1£
t-t
-p — *-*-*-
-P---P-
,-=r F F— F" r|-rr Y~- F 1 ad
Ki-wi-
ta - gi - clg ban ga - bi - nes - i - mo - yan
Kiwitagi'cig Flying all around the sky
Gabings'imoyan' The loons are singing
This is an old song, which was sung before starting on the war-
path. The words refer to the Loon clan or totem which, according
to William Warren, was very powerful among the Chippewa, even
claiming to be the chief or royal clan.
Analysis. — Harmonic in structure, this song follows the outline of
the major triad in the upper and lower octaves with the sixth as a
passing tone. This tone material is found in a large number of the
songs under analysis and is that of the fourth five-toned scale, lack-
ing the second. It is a form of tone material which appears transi-
tional from the simple major triad to the complete five-toned scale.
(See p. 63; also tabulated analysis, p. 9.)
iMOBE] CHIPPEWA MUSIC
No. 129. "I will Start before Noon
Sung by Ga'tcitcigi'cig
Voice J — 144
Drum J^ 100
(Drum-rhythm similar to No. Ill)
143
(Catalogue no. 276)
s^±
WORDS
Tcinau'hwakweg' I will start on my journey before
noon
Tcibwa'wabumi'igoyan' Before I am seen
The singer stated that he learned this song from his father, who
was a warrior, and in the old days was often sent in advance of the
war party as a scout. Before starting on such an expedition he sang
this song. In singing it the words were mispronounced ; they contain
many interpolated syllables.
Analysis. — This song begins on a very high tone. It is harmonic
in structure and is a typical example of a simple song on the fourth
five-toned scale.
No. 130. SONG OF CimAu'gANIC (Catalogue no. 277)
Sung by Ga'tcitcigi/cig
In the old days it was customary for a woman to go out and meet
a returning war party. If a scalp had been taken she received it at
the hand of the leader and danced in front of the war party as it
neared the camp, singing and waving the scalp. The song under
consideration concerns such an event as this. The singer stated that
he had heard it sung by a woman on such an occasion. Sometimes
several women went to meet the warriors, but one always preceded
the others and received the scalp. The return to the camp was
144
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 45
Voice J^ = 168
(Recorded without drum)
m
-I— H , 1— "I— "•-
m^
*a
s
4=t=t
P P P-
£ Jf_t!l-_£
t=tt
?-*
4- — F— ^
Ci
lu-gan-ic gi - ni-ci-wed.
^frJ-4#^^BS^^rHHI^
S^^I^^^S^S
3
t
M^iiii^lllli^
t=a
&
Ci - mau-gan-Tc gi - ni-ci-wed
:• * •- P
v \
nmi^g^
ms^&ami^mmm
Ci-inau-gau-Tc gi - m-ci-wed
^fas^^a^^^^^g
#-• -*-
3*ss
!l^EE&£
V
p-1 — p.
^=g^^B^=B^
Ci-
NS£
E*
&J
,^-t^.
M^^m^m^^^m
mau-gan-Tc gi - ni-cl-wed
msm^m^^m^^
densmobb]
CHIPPEWA MUSIC
145
< !imau/ganic A man's name meaning
Gini/shiwed/ He killed in war
•ldier'
always followed by a scalp dance. This was sometimes performed
around a pile of presents. Each scalp was fastened to a hoop at the
end of a pole, and anyone to whom this pole was handed was obliged
to hold it aloft as he danced alone around the pile of gifts. This
is an old song in which the name of Cimau'ganic was introduced in
honor of his special bravery.
Analysis. — In this instance the entire phonograph record is tran-
scribed. It consists of four renditions of the song and clearly shows
the points in which the renditions vary. In this respect it is the
record of a musical performance as well as the record of a song. The
singer imitated the manner in which he had heard a woman sing the
song, the high notes being given in a falsetto voice but with good
intonation. The division of the measures into five counts is not
mechanically accurate throughout the record. In certain measures
the note values correspond exactly to the metronome beat; in others
they vary slightly, but the rhythmic feeling is still that of a five-part
measure. This song is a very free musical expression and is of special
value, both from its structure and from the occasion of its use.
Voice J— 126
Recorded without drum
No. 131. "The Shifting Clouds " (Catalogue no. 114)
Sung by A/gwitu'wigi/cig
si - go kwe
^jaag^feij
:p=p=^:
i^g^
*—*—*
II
WORDS
Ana/qud The shifting
Ba/bikwa/sm ( 'louds
This is one of the war songs with which a social dance is usually
opened. Most of the singers carry some object in the right hand — a
small gun whittled from wood, a turkey-wing fan, a bow with arrows,
12692°— Bull. 45—10 10
146
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
or even a war club with a wisp of hair dangling in imitation of an
enemy's scalp. With this they point as if to various objects, as an
enemy at a distance or a footprint on the ground. During this song
the dancer would point to the clouds.
Analysis. — This song is harmonic in structure. The irregularity of
measure lengths is worthy of notice, as is the continuously descending
trend of the melody.
No. 132. Scalp Dance (Catalogue no. 116)
Sung by Gi'cibans' ("little duck")
Voice J -168
Recorded without drum
A _«_ _^_ .,-
ga^EEg
t=t=.
JL +.
' \r t t • f 1
^£EEEE3=E=:t£E5
Yo ho kwe a yo ho kwe a yo ho kwe a yo ho kwe a
^
?=££=££
13
l=™
+
• #— r^-
m
e-kwa-wue§n
do - bi
SI
yo ho kwe a
yo ho kwe a
t=
yo ho kwe a
_,_ #. ^ ?. _,..
ho kwe a
ho kwe a
giEE^tJ:
^^-AU^M
8-kwa-wug en - do
yo ho kwe
ho kwe a
Ekwawug' The women
En'dobiog' Are enjoying it with us
Analysis. — This was sung by an old woman whose voice was
about the same register and quality as a man's. A point of interest
in this song is that the last tone is approached by an upward pro-
gression. The rhythmic unit is short and frequently repeated.
War Songs — White Earth Reservation
Melodic Analysis
TONALITY
Number
of songs.
Catalogue numbers.
5
6
114, 182,215,271,276
116, 179,205,229,230,277
11
DENSMOBE]
CHIPPEWA MUSIC
147
Melodic Analysis — Continued.
TONE MATERIAL
Number
of songs.
Catalogue numbers.
Fourth rive-toned scale
Major triai 1 and sixth
Minor triad and fourth
Octave complete
Octave complete except seventh .
Octave complete except second . .
Other combinations of tones
Total .
271,270
114
116
229
215
230
179, 182, 205, 277
!!K(i :n\-|v<;s of soN<,s
Beginning on the twelfth.
Beginning on the octave.
Beginning on the tenth . .
Beginning on the ninth . .
Beginning on the fourth..
Total.
114,271,270,277
116, 182,229
215, 230
205
179
ENDINGS OF SONGS
Ending on the tonic.
Ending on the fifth . ,
Ending on the third.
114, 116, 179, 205, 229,230, 271,
276
182, 277
FIRST PROGRESSIONS
First progression downward.
First progression upward . . .
Total
114,179,1X2,205,229,230,271,
276, 277
116,215
ACCIDENTALS
Songs containing no accidentals .
Sixth lowered a semitone
Total
114,110,179,182,205,215,229,
271, 270, 277
230
Rhythmic Analysis
9
179, 182
215
179,205,229,230,27
114, 116, 182,277
Songs beginning on the unaccented portion of the measure
Total
11
1
4
Total
11
148
BUREAU OF AMERICAN ETHNOLOGY [boll. 4E
Structural Analysis
Number
of songs.
Catalogue numbers.
5
114,215,230,271,276
110, 179, 182, 205, 229, 277
11
Sa'gii'diwin'ina'gumo'win (Love Songs)
The love songs mark a distinct phase in the development of music
as a means of expression. It is not uncommon to find the words
continuous throughout the song with little or no repetition. This
characteristic has not been found thus far in any other branch of
Chippewa music, and shows that in them the expression by means
of words is as free as the expression by means of musical tones.
These words are seldom transcribed. From observation the writer
believes that the words of a certain melody are often impromptu in
exact form, though having a general similarity throughout the ren-
ditions by various singers.
The love songs are more free in melody progression than other
classes of songs. Many of them have traveled far and are known to
be very old. They constitute a favorite form of music among the
Chippewa, and are sung with a nasal tone used in no other except the
songs of the scalp dance. This resembles the cry of an animal, yet
the intervals are given almost as accurately as where a direct singing
tone is used.
No. 133 (Catalogue no. 98)
Sung by Manido'gicigc/kwe (" spirit day woman ")«
Analysis. — This was said to be a very old song. The peculiar
quality of tone assumed by the Chippewa in singing their love songs
renders it impossible to convey a correct impression by means of
notation. This quality is nasal, with a slight drawling and a sliding
of the voice from one tone to another.
The range of this song is two octaves, and the intervals are found
to be correct, though difficult at first to recognize beneath their dis-
guise of mannerism. The remarkable change of pitch in the tenth
measure was given with more accuracy than many less wide intervals,
following the general rule that uncommon intervals are more accu-
rately sung than common intervals. A very explosive tone was
given on the notes marked with an accent.
a The singer of this and the following song is a unique personality, living all alone. (See pi. 11.) On each
side of her log cabin is a little lake. Back of it stretches the forest, broken only by a wagon road whose
single track is marked by stumps beneath and drooping branches overhead. In this desolate place Manido'-
giclgo'kwe and her dogs guard the timber of her government allotment, the while she gathers roots from
which she makes love powders to sell to the children of men. In her hand she usually carries a small
hatchet. There is a smoldering fierceness in her small eyes, but her voice in speaking is low and musical
and she laughs like a child.
UREAU OF AMERICAN ETHNOLOGY BULLETIN 45 PLATE 11
MANIDO'GICIGO'KWE
densmore]
CHIPPEWA MUSIC
149
Tempo Rttbato
Recorded without drum
iP=t=af^--N--Mt
*=^=?
m
++jt
&vrm
fe
m
m
1e7EEE±E£Se*EE*e£e
-# *
5^1
it=fs=£3:
SzE^E,
J^EE^
J.
^i^i
^^g
V "*■ ^r
No. 134
Sung by Manido'gtcIgo'kwe
(Catalogue no. 99)
Tempo Rttbato
Recorded without drum
iEp
Ef«=E£
« — i — * —
l=^=P
*
XT
t4
f=?=f=^
^_ r
I^EeS^!^
-#-— j-
52 T^
^-^-
i
t=i=^
tzt
pEE^EEEJEEEEEEtSEE^aE^
•^
31
^^m.
izzt
Analysis. — This melody, though apparently simple in outline, is
very free in movement. The tones are those of the key of F,yet the
melody does not affiliate with the principal chords of that key and
shows little feeling for a keynote.
150
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 135. "My Love has Departed" (Catalogue no. 101)
Sung by Mrs. Mary English «
Voice J = 132
Recorded without drum
^smm^^mwm^
Man-go-dug - win nln - di - nen-dum nian-go-dug-winnlu - di - nen-dum,
P
-0- ' -•- -&-
- na-win nln - I - mu-ce e-ui-wa-wa - sa- bo - ye-zud.
raa-dja
ka - win - i - na-wa nin-da-wa- ba-nia - si
Si Man-s;o-dug - win
ligS^^^l
di - nen-dum man - go-due - win nln
di - nen- dum,
Epj3Egai#g^pjl^E^
mi-ewe - na-win ka - win - i-mu-ce,
e-ni-wa-wa - sa - bo - ye-zud
WORDS
Part 1
Mangodug/win A loon
Nin/dinen/dum I thought it was
MFgwenawin' But it was
Nin'imuce' My love's
EnrVawasa^oyezud' Splashing oar
a The singer of this song is a sister of William Warren, the historian of the Chippewa. Her family lived
on Madeline island when she was a child, and this song came from there. It is a strange experience to
talk with one who remembers when there were only one or two boats on Lake Superior, and who stood
on the present site of Duluth when it was peopled only by a few Indians. On one occasion Mr. Warren
and his sister, with a party of Chippewa, camped where Duluth now stands. As they were taking
their departure Mr. Warren stood beside his canoe on the shore, stretched out his hand over the water,
and said, "Some day this lake will be a highway of water where hundreds of boats will come and go;"
then he pointed to the little group of tipis and said, "My brothers, you and I will never see it, but soma
day a great city will stand there." The Indians pointed significantly to their foreheads. Their brother
had been too long in the hot sun, and even his sister entered the canoe with a heavy heart.
DENSMOBHJ CHIPPEWA MUSIC 151
Part 2
Ba'witing' '. .. To Sault Ste. Marie
Gi'mma'dja He has departed
Nin/imuce/ My love
A/nima/dja Has gone on before me
Kawir/inawa' Never again
Nindawa/bama/si Can I see him
Part 3 is similar to part 1.
Analysis. — -This is an example of a common form of Chippewa songs,
in which the first and last parts are alike, the middle section differing
slightly and often being the only part in which words occur. Like
most of the love songs, it was sung tempo rubato. The measure-
lengths are clearly marked by the accents. This song in a less com-
plete form has been found on other reservations.
No. 136. "Why Should I be Jealous ?:
Sung by Mrs. Mee
Voice J — 88
Recorded without drum
(Catalogue no. 104)
-•-
-•-
-&-
-•-
-&-
ma
- dja-kwi -
wi
- j&
- sis
WORDS
a
ya
ya
Nabi'sa Why should
Nin/doma/ I, even I
Geoden/damaban/ Be jealous
Madjakwi'wijasis' Because of that bad boy?
This song is not without its humorous side. It is said that in the
old times an Indian maid would lie face down on the prairie for hours
at a time singing this song, the words of which are so very independent
and the music so forlorn. The song was as often sung by a young
man, the words being appropriately changed.
Analysis. — This is one of the few songs in which the key is fully
established, as is shown by the fact that it can be readily accom-
panied by the three principal chords of the key of A. It is said to be
a very old song and to be commonly used in recent times. The latter
fact suggests that continuous use under semicivilized conditions may
have modified the form of the melody to its present regularity of
time and intervals.
152 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 137. "I do not Care for You Any More" Catalogue no. 106)
Sung by Ki'tcimak'wa ("bk; bear")
Voice J — 52
Recorded without drum
-•-• -•- -•- -• -•- -•- -•-.
^b|=LJ=^. £J t ff »jj# , * f[|i g^
§S&
Ka su gin gi - ba- ba - me - ni- nil- si- non
+ +
ka
win su gin
SEK
£H
-4 p — p-
e
•- 1-
it=t=
gi- ba- ba - me-ni-mi-sl-uon ba- ka- nl - zi be-ba - me - ni-mug nin
Kawln'
SCi
Gin
Gibaba/menimisinon/.
Baka'nizi'
Beba'menimug'
Nin
[Free translation]
I do not care for you any more
Some one else is in my thoughts
The mournfulness of this song, like the preceding, suggests that the
Indian has some difficulty in transferring his affections. Ki'tci-
mak'wa, who sang the song, assured me that he was the best singer
on the White Earth reservation. His voice is full and resonant. At
the dances he sits at the drum for hours at a time, leading both
singing and drumming.
Analysis. — E flat is the only tone occurring in this melody which
marks it as minor, and this was sung slightly higher than the proper
pitch. This song is, however, plainly minor in tonality. Like most
of the love songs, it is widely known on the reservation.
No. 138. "Do not Weep"
Sung by Ki'tcimak'wa
(Catalogue no. ]07)
Voice J = 76
Recorded without drum
-•- -•- 9-
1-M:
t=t
fcE
H
&
Ge - go - bi - na - ma - wi - ken, ge - go - bi - na - ma - wi - ken,
3§^=F
§M
r if r *■ n
S5=£
ge - go - bi - ua - ma-wi - ken, ka-win go - cu niu-da- nl-bo
DENsmore]
CHIPPEWA MUSIC
153
Gegobina/mawikSn/' .
Kawln'
Gocu'
Nlnda'mbosi'
WORDS
>Do not weep
I am not going to die
This song is widely known among the Chippewa. It is one of the
sweetest of all their love songs. In it we do not find the fancy of
youth but the deeper love and the nearness of the deeper sorrow.
Analysis— Although this song begins with a downward progres-
sion, it is more strongly marked by upward movement than many of
the songs. In this and in its plaintiveness lies its chief interest.
Reference is made to song no. 200 (catalogue no. 145), in the section
on Red Lake reservation music, which shows a repetition of this song
by a singer on that reservation.
No. 139. "He Must be Sorrowful" (Catalogue no. 110)
Sung by Ki'ose'wini'ni ("good hunter")
Voice J = 76
Recorded without drum
:^_4
-•-.
^
4—
-t-
-* • -•
-! 1
=t=
-4—
-& —
me-gwa we-ski - ni - gi-yan e
., WORDS
Ginani'nawen'damodog'
Ganiclwana'djlgad'. . . .
He [or she] must be very sorrowful
Since he [or she] so deceived and
forsook me
Me'gwa During
We'skinigiyan' My young days
Analysis.— This, like no. 136, may be sung by either a man or a
woman. The song is chiefly interesting because of the flatted third
as an accidental. The expression of sadness by means of a minor
interval is not so characteristic of Indian music as of our own.
154
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
No. 140. ''When I Think of Him" (Catalogue no. 262)
Sung by Henry Selkirk
Voice J— 62
Recorded without drum
-•- -•- -•-• -m- -•- -•-$•#- +1 -&- -•--•- -0-
A-no-gi - ya - i - ki-do-pun e a-no - gi - ya - i - ki-do-pun
§SSiEE=S=tl=Ei^E^
a - no - gi - ya - i - ki-do-pun e a-wun-djic-
go - ko nin-gac-ken
dum ka - mi-kwe-ni-ma-gin a-no-gi - ya
=Pft
#-a-t=i — 4-
==— F-
t=±
m
- ki-do - pun a-djic a-no
gi - ya - i - ki-do-pun
Anogi/yayai/kidopun/ Although lie said it
A'wundjic'igoko' Still
Ningac'kendflm I am filled with longing
Ka'mikwe'nimagin' When I think of him
This is one of the old love songs of the tribe and may be sung by
either a man or a woman. Several months previous to the making
of this record a song resembling it was recorded on the Red Lake
reservation. On comparison it is found that the Red Lake song is
more elaborate in both rhythm and measure divisions, but the
general trend of the melody is the same. See song no. 166 (catalogue
no. 151).
Analysis. — The accidental in the second measure of this song is
very effective and the compass of the song lacks only one tone of being
two octaves. The ability of the singer to "pitch" properly a song
of such range is worthy of note.
No. 141 (Catalogue no. 275)
Sung by Ga/tcitcigi/cig
Analysis. — A large number of words are used in the Chippewa love
songs, but they are in the nature of conversation and do not form a
sufficiently important part of the song to be translated. New words
are very often composed and names introduced into the song.
This song is said to be very old. In a song of this character the
length of the tones varies with the singer and with his mood. This
dbnsmobe]
CHIPPEWA MUSIC
155
rendition is transcribed as nearly as possible, but one can not be
sure that repetitions by other singers would be identical. The song
was sung very slowly, with the peculiar nasal tone affected by the
Indians when singing love songs.
Voice
50
Recorded without drum
-?.*-+—
i^aiiSi^^pP
ff.
wm-^4^:-.
•-•—&-
• ?
m^rjWf^^^^^f
=P:
ZfCqf.
Love Songs — White Earth Reservation
Melodic Analysis
TONALITY
Major tonality
Minor tonality
Total
TONE MATERIAL
Fourth five-toned scale
Second five-toned scale
Octave complete
Octave complete, except second
Octave complete, except seventh
Minor triad and fourth
Minor triad, second, and fourth
Total
Number
of songs.
Catalogue numbers.
,104,110
,101,100,107,262,275
104
262
99,101
275
98
106
107,110
156
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
Melodic Analysis — Continued.
BEGINNINGS OF SONGS
Number
of songs.
Catalogue numbers.
Beginning on the twelfth.
Beginning on the octave..
Beginning on the third. . .
Total.
98,262,275
101,104,100,107,110
ENDINGS OF SONGS
6
2
1
9
101,100,107,110,202,275
98,99
104
FIRST PROGRESSIONS
First progression upward —
First progression downward.
98, 99, 101, 104, 202, 275
106,107,110
ACCIDENTALS
Songs containing no accidentals
Sixth raised a semitone
Fourt h raised a semitone
Fourth and seventh raised a semitone.
Total.
104.100,107,110
101,262,275
99
Rhythmic Analysis
Beginning on accented portion of measure
Beginning on unaccented portion of measure.
101.104,107,110
98,99,100,202,275
Structural Analysis
None
9
Ata'diwin'ina'gtjmo'win (Moccasin-game Songs)
The moccasin game is the principal form of gambling practised by
the Chippewa at the present time. A characteristic of the moccasin-
game songs worthy of special note is the combining of a rapid metric
unit of drum with a slow metric unit of voice, strongly indicating
CHIPPEWA MUSIC
157
the elements of excitement and control which prevail in the game.
Words may or may not be used, one instance being shown in which
the words occur in different portions of the melody in the varying
renditions of the song.
The drumbeat of the moccasin game is a strongly accented stroke
preceded by a very short unaccented stroke.
In the moccasin game four bullets or balls are hidden under four
moccasins. One bullet or ball is marked and it is the object of the"
opposing players to locate this with as few "guesses" as possible.
The whole village knows by the beat of the drum when a moccasin
game is in progress, and the writer can testify to the energy with
which the drum is beaten, having sat next to it for a long time, the
crowd of interested spectators nearly falling over her head. There
was very little air to breathe, but the discomfort was amply repaid
by the interest of watching the faces of the players.
Voice J =192
Recorded without drum
&
No. 142
Sung by Main'Ans
(Catalogue no. 112)
g^SB^B^F^s
+
r^ mii , ^ h2 t-H2-3 — r~* rr-^ — ~ r— f2 1
-CVgjT — -\ • — — • — j 1 1 1 f — a — \a— f _^Z
^S^^^^Eg;
-,-ii-J-
Analysis. — In this instance an attempt has been made to indicate
the embellishing of a melody by means of small melody progressions.
Certain tones were sung less than a semitone higher than the pitch
indicated and are marked in the usual manner. This song has no
words. The melody is of unusual freedom, progressing several times
from the highest to the lowest tones. It is peculiar in that the first
and last tones are the same.
158
BUKEAU OF AMERICAN ETHNOLOGY [bull. 45
No. 143 (Catalogue no. 181)
Sung by Aki'waizi'
Voice J — 96
Drum J=116
inr
i-b*L
Jtifyz — #
•?F
•—•--«?- — \r&-
Drum-rhythm
Drum J = 116
3£3^SEE3E^=*
Analysis. — The accidental in this song is the lowered sixth, and it
is worthy of note that the accidental was given with more firmness
and better intonation than the other tones of the song. Four rendi-
tions were secured, the rhythm being regularly maintained. The
drum is very sharp and insistent, as in all the moccasin-game songs.
No. 144. "If I AM Beaten" (Catalogue no. 203)
Sung by Nita'miga'bo ("leader standing ")
Voice J— 104
Drum J = 120
(Drum-rhythm similar to No. 143)
m
r
4=
r— *— ?-
3T£
r-
^
Nin - gi - we
in - go - yan
Nin'gagiwe' I will go home
nigoyan'
If I am beaten
Nin/genadin/ After more articles
Minawa/geatc/igeyan/ To wager
DENSMORi:]
CHIPPEWA MUSIC
159
Analysis.— Only the first two words appear on the phonograph
record, yet five Indians were in the room when the song was recorded
and they all agreed that these were the proper words for the song.
This is one of the instances in which the melody is evidently more
important and constitutes more fully the identity of the song than
the words. The melody .shows great complexity of rhythm, a feat-
ure to be expected from the nature of the words. The tones of the
melody are those of the tonic triad.
No. 145. '' I have Come After your Stake" (Catalogue no. 224)
Sung by Ga'gandac/
Voice J__69
Drum J =120
( Drum-rhythm similar to No. 143 )
ill
a=F=
3'
t=x
Nim - bl - na - di
da - di - mi- nth
hi a ya a
9J
*=f=i
3=
!S
-*—*—*—*-*—*-
ni - ta - wa - ta - gi- y uu a ya
WORDS
Nim'bina'dinun' I have come after it
Kide'imun Your stake
Nita'wata'giyun' You good players
Analysis. — The rhythm expresses the idea of this song in a very
interesting manner. The voice rhythm is slow, steady, and deter-
mined, while the drum rhythm is the quick, energetic beat of the
moccasin game.
Moccasin-game Songs — White Earth Reservation
Melodic Analysis
TONALITY
Major tonality
Minor tonality
Total . . .
Number
of songs.
Catalogue numbers.
181,203
112, 224
160
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 45
Melodic Analysis — Continued.
TONE MATERIAL
Octave complete
Major triad
Major triad and sixth.
Minor triad and sixth.
Number
of songs.
Catalogue numbers.
Beginning on the twelfth.
Beginning on the tenth . .
Beginning on the second.
Total .
BEGINNINGS OF SONGS
2
181,
1
224
1
112
4
Ending on the tonic .
Ending on the fifth.
First progression upward . . .
First progression downward
Songs containing no accidentals.
Sixth lowered a semitone
ENDINGS <)F SONUS
112,181,203
224
FIRST PROGRESSIONS
112, 181
203, 224
ACCIDENTALS
3 112, 203, 224
1 181
Rhythmic Analysis
2
181,203
112, 224
4
3
181,203,224
112
4
DENSMORE I
CHIPPEWA MUSIC
Structural Analysis
161
Number
of songs.
Catalogue numbers.
2
2
181,203
112, 224
4
Unclassified Songs
No. 14G. Call to the Dance (Catalogue no. 105)
Sung by Ki'tcimak'wa
Voice J ^_ 80
Recorded without drum
^i
f-rff-
r-
r-
1e^3|^
-&^=f=iE
¥=>£■-
^i
MMA
?. *- JL +_
m
=s=s=
s^s
This song is sung by riders upon ponies, who go through the village
summoning the people to the dance. With his usual conscientious
carefulness Ki'tcimak'wa sang this into the phonograph with the same
shakiness of voice which would be produced by riding on his pony.
Analysis. — The interest of this example lies in the rhythm of the
song as a whole. One must have this in mind to appreciate how
well it expresses the scene and the action of the rider going his rounds
and summoning the people to the dance. Several renditions were
given and the melody was accurately repeated.
The song contains no rhythmic unit and the rhythm is remarkably
continuous throughout. There is no "stopping place" in the mel-
ody, yet the song as a whole can not be said to constitute a rhythmic
unit; it simply reflects in its rhythm the motion of the pony and
the general gayety of the scene.
12692°— Bull. 45—10 11
162
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 45
No. 147. "I am as Brave as Other Men" (Catalogue no. 109/
Sung by Kl/OSE/WINI/NI (" GOOD hunter ")
Voice ^92
Drum
-f— -MMf:
EEEE3
9*
-i — u^R=ga
=E^-=tt=t=
S^-ElLJ^
:p^=F* !* • •
*=p=^
f=tt=r=t^F=F
^^— *— •— ^— 3— ^
^— =^=
i i-
*—*-&-
Ini'niwug' Men who are brave and heroic
Ene'nimowud' As you esteem them to be
Migo' Like them
Kayanin' I also
Ene'nimowud Consider myself to be
This song is similar to no. 148 and shows the Indian's manner of
impressing his greatness on his fellow-men.
A repetition of this song was secured after several months and
was found to be particularly correct, even to the time as measured
bv the metronome.
No. 14S. "My Music Reaches to the Sky" (Catalogue no. 274)
Sung by Ga/tcitcigi/cig
Voice J 104
Drum J- 112
( Drum-rhythm similar to A'o. Ill )
■2 I
»
mg
«5-^^
-a *
b^4=±
•
Ge da-mm - a - we
we - cka-mfm e
a - wad j 4 - gi
niu gi-cig
CHIPPEWA MUSIC
163
Daminwe'weckamun' Music reaches
Awadj/ginin/ My
Gi'cig To the sky
This is one of the old songs. It was sung after all had assembled
and just before they began to dance. It is said to have been a
particular favorite.
Analysis. — Attention is called to the high tones at the beginning
of this song. Its structure is similar to that of the preceding song.
The measures containing the words are slightly slower than the others,
to permit clearness of enunciation.
Voice J = 72
Recorded without drum
No. 149. Lullaby
Sung by Mrs. Mek
(Catalogue no. 102)
j=jh ^wm
we we we
b=t
5
J
This lullaby is very old and is widely used among the Chippewa,
the syllables we we we corresponding to the "by by" of the white
race. The rhythm of this, sung in slow time, is very soothing.
No. 150. Farewell to the Warriors
Sung by Mrs. Mee
Voice J = 76
Recorded without drum
(Catalogue no. 103)
SS9
*=*
m
$=f^-
:t=t
5^
4.
Um- be a
ma - djag wa-su
ja - mm
3^
3=*=
j£t.
ija wi a
ya w% a
Umbe' Come
A/nimadjag/ It is time for you to depart
Wa/sugi/dija/min We are going a long journey
This is a very old song. The writer has talked with those who heard
it sung long ago, when a war party left the little Chippewa village.
164
BUREAU OF AMERICAN ETHNOLOGY
It was the custom for the women to accompany the warriors a short
distance, all singing this song; later the song would be heard again,
faintly at first, then coming nearer as the women returned alone,
singing still, but taking up the burden of loneliness which is woman's
share in war.
Analysis. — Only one other song in the present collection no. 126
(catalogue no. 229) contains the interval of a whole tone between
the seventh and eighth. This interval adds greatly to the effect of
the song. The melody is of rare beauty, and is very graceful, despite
the wide intervals at the beginning.
:ps
No. 151. Song of Thanks for a Pony (a) (Catalogue no. 91)
Sung by Cagan'aki — (" englishman ")
Voice J — 96
Drum J— 160
(Double drum-beat, accented)
.«. J. J_ ^
m^^^m
pfe^Biil
l=r
^
T~p (g-
:i — n
No. 152. Song of Thanks for a Pony (b) (Catalogue no. 92)
Sung by Cagan'asi
Voice J— 104
Drum J— 104
( Drum-rhythm similar to No. Ill )
g^g=£^|:
*-• -P- -.- 4-
^sig^te^
-• — ^ — p-
DBHSMOBE] CHIPPEWA MUSIC 165
No. 153. Song of Thanks for a Pony (c) (Catalogue no. 93)
Sung by Cagan'asi
Voice
Drum
104
104
(Drum-rhythm, similar to No. Ill)
Analysis. — This is a set of three songs which are sung when a pony
is given away at a dance. The transaction would not be considered
complete unless these or similar songs were sung. This rendition
contains no words. A repetition of the same songs on another
reservation contains the words "The pony is mine."
Attention is called to the syncopation in the second song. This
is unusual, but was accurately given and repeated.
Unclassified Songs — White Earth Reservation
Melodic Analysis
tonality
Number
of songs.
Catalogue numbers.
Major tonality 3
93,102,274
91,92,103,105.109
TONE MATERIAL
Fourth five-toned scale
Second five-toned scale
Major triad and sixth
Octave complete except sixth .
Other combinations of tones . .
Total.
102
105
93,274
92
91,103,109
Beginning on the tonic a. . ,
Beginning on the fifth
Beginning on the octave . . .
Beginning on the eleventh .
Beginning on the ninth. . .
Total .
BEGINNINGS OF SONGS
2
102, io;
2
91,274
1
93
1
109
1
92
o A portion of this melody lies above the keynote and a portion below it.
166
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
Melodic Analysis — Continued.
ENDINGS OF SONGS
Ending on the tonic.
Ending on the fifth.
Ending on the third.
Total.
Catalogue numbers.
92,102,103,109,274
91,10.5
93
FIRST PROG R K S S I O N S
Firs( progression upward. . .
First progression downward.
92,102,103,274
91,93,102,105
ACCIDENTALS
Songs containing accidentals.
Fourth raised a semitone
Second lowered a semitone . .
Total.
92,93,102,103,
109
Rhythmic Analy;
Beginning on accented portion of measure —
Beginning on unaccented portion of measure.
Total.
Metric unit of voice and drum the same.
Metric unit of voice and drum different .
Recorded without dium
5 91,92,105,109,274
3 93,102,103
92,93,109
91,274
102,103,105
Total.
Structural Analysis
None
8
SOCIAL SONGS ON RED LAKE RESERVATION
Description of the Dances, Costumes, and Celebration on July
4, 6, and 7, 1908
On the evening of July 2, 1908, the writer reached the Red Lake
reservation in northern Minnesota for the purpose of studying the
music of the Chippewa Indians during the Fourth of July celebration.
A large number of the Indians had already assembled and tipis
were hourly added to the groups surrounding the field where the
densmore]
CHIPPEWA MUSIC 167
dances were to be held. The conical cloth tipi prevailed, smoke-
stained and weatherworn, but a few white tents were pitched at a
little distance, showing their occupants to be slightly removed from
the older Indian life. Very close together were the tipis of the
"old timers." No one need be ignorant of what took place in his
neighbor's tipi, although the openings were never exactly opposite
each other.
The work of putting up the tipi was usually done by the women,
and it was interesting to watch the care with which they erected the
three main poles, tied these together near the top, laying the other
poles upon their intersection ; finally they put one pole in each corner
of the smoke-hole flaps of the cloth, spreading the cover neatly over
the framework thus constructed, fastening it together over the door,
and tying it to the stakes at the ground.
The Indians in the camp numbered about 200, while many more
were visiting friends at the agency village.
This celebration was conducted entirely by the Indians, solely for
their own pleasure. A subscription had been made by the traders,
agency employees, and leading "mixed bloods," which provided food
for the camps and prizes for the contest, but the management rested
with the Indians. There were no formal exercises and no speeches
by white men; indeed, the writer was the only white person there,
except the agency employees.
The evening of July 3 found all in readiness. A rope marked off
the large dancing circle and outside this were, ranged various lemonade
stands and a platform for dancing provided with a covering of green
boughs.
Although firecrackers were for sale at the stores they seemed to
have little attraction for the Indians. Some little boys solemnly
fired a few crackers in a secluded lane, and two rockets ascended
from the space in front of the Chippewa trading store. Aside from
this a dignified silence prevailed.
The writer was awake early on the morning of July 4. It was 3
o'clock ; the red dawn lay close to the pine trees in the east, and
from the Indian camp arose the deep throb of a drum. Never was
national holiday ushered in more impressively. He who sat beside
the drum greeted in his own way that which his race honored
before they ever saw the Stars and Stripes, and in their tipis his
kinsmen waked to say "the day is come."
After breakfast the women were chatting good naturedly over
their cooking fires. From one tipi came the jingle of sleigh bells
as a brave handled the costume he had prepared for the occasion;
near the door of another lay a bundle of bright beaded trappings;
everywhere were the dogs and the babies.
168 BUREAU OP AMERICAN ETHNOLOGY [bpll. 45
It was about 10 o'clock when the parade started. There were
no carriages with smiling, bowing speakers prepared to instruct and
inspire. About fifty Indians were riding. Their costumes were bright
with beadwork and gay streamers adorned the ponies. One man had
swathed his pony in a huge American flag, and thus garbed it walked
in the rear, following the procession like the spirit of a soldier's horse
slain in the border wars.
The little parade took its way down the hill, across the bridge,
and up to the agent's office. The leading men drew up their horses
in a circle before the door, and each made a patriotic little speech
to the agent; then they filed out of the inclosure and across the
bridge once more, stopping before one of the stores, where the same
programme was repeated. This finished, they went to the other
store, a crowd following in their wake. (See pi. 12.)
It was considered that the day was formally and properly opened,
and the procession jingled awa}^ to the camp.
The noonday sun shone hotly down, dogs and babies sought the
shady side of the tipis, yet a general sense of joyous expectancy
filled the air. Soon the beat of the drum was heard in the direc-
tion of the dancing circle with a low, vibrating lie lie as the singers
practised around the drum, a shelter of boughs being provided for
their protection.
The war dance began about 2 o'clock. Only a few were present
at first, but soon dignified figures were seen coming from the tipis,
each wrapped in a bright blanket or bedquilt. An Indian on his
way to the dance does not stop to parley or to greet his friends;
he sees nothing but the pole which rises high in the center of the
circle, and he hears nothing but the throb of the drum. The lead-
ing chief, Nae'tawab', did not join the war dance at first. A chair
was placed for him at one side of the circle, but he did not hasten
his entry.
Throughout this celebration the costumes were more primitive
than those seen on other reservations. The difference consisted in a
more extensive use of feathers, shell, bone, and horsehair in the
decorations. Only two or three men wore felt hats. The wearing
of the hat in the dance constitutes a sharply defined line of demar-
cation between the full-blood and the mixed-blood Indian. On other
reservations black felt hats were wound with red yarn, stuck with
bright feathers, and adorned with yards of ribbon brilliant and
varied in hue, but no such motley garb marred the dignity of the
Red Lake dancers. Everyone wore some head covering, but it was
of native construction. Stiff moose hair, dyed and fastened on a small
wooden frame, constituted a popular headdress. In shape this resem-
bled a huge flat rosette on top of the head with a strip extending
down the back of the head to the neck and with one or two heron
BUREAU OF AMERICAN ETHNOLOGY
ULLETIN 45 PLATE 12
INDIAN PARADE
INDIAN DANCE
THE FOURTH OF JULY AT RED LAKE AGENCY
DBNSMOKE] CHIPPEWA MUSIC 169
feathers erect on the top. For fastening this on the head it is nec-
essary to braid a small lock of hair on top very tightly, pass it
through a little hole in the wooden frame of the headdress, and
secure it by slipping a wooden peg through the braid. Some wore a
band of fur around the head, and to this part of a horse's mane or
tail was often attached. One man wore a headdress composed en-
tirely of long feathers dyed in bright colors, fastened to a cloth in
such a way that they waved in every breeze and even hung before
his face, almost hiding it from view.
Brown woven underwear was a favorite foundation for a costume,
over which was worn the bead work consisting of the breechcloth and
leggins and two large flat pockets with broad bands over the oppo-
site shoulder, all of black velvet, on which the white and colored
beads showed effectively. Beaded moccasins completed this por-
tion of the costume. Sleigh bells were a favorite decoration, a band
of them being fastened around each knee and strings of bells to
the waist in the back. One large bell was often worn on each ankle.
Many dancers wore the skins of raccoons or long ribbon streamers
at their elbows; some had the tails of raccoons dragging from their
moccasin heels. A few wore sleeveless velvet jackets beautifully
beaded and with these broad belts of beadwork with knife pouches
on the hip. Small round mirrors were effectively used, being sewed
on bands of cloth to form necklaces. One man wore an "ephod"
of red cloth thickly strewn with little mirrors; this garment, which
was shield-shaped in the back and square in the front, being slipped
over the head, is an article of Chippewa apparel which is rarely seen.
One dancer wore the entire body of an eagle around his neck and
another had that of a huge blackbird on which he had fastened
dots of white. Still another had two strings of claws fastened
across his forehead and temples. Several wore necklaces of bone
with beautifully polished clam shells as ornaments in the front;
others wore the broad silver armlets which were given to the Indians
in the early days. The faces of all were gaily painted. Altogether
it was a brilliant assemblage which sat around the dancing circle.
Some were smoking the red stone pipe with stem of willow; others
were sitting quiet, wrapped in their bright quilts, but when the
familiar he he was heard from the singers at the drum they rose
with a rush like a flock of bright birds. Most of the dancers carried
some object in the right hand — a turkey- wing fan, a bow with
arrows, a stone ax, or one of the old clubs to which scalps were once
fastened. One club had a wisp of horsehair dangling unpleasantly
from it. These objects were used in the gestures, which form a
conspicuous feature of the dancing, as the dancers point to some
imaginary enemy in the distance, to a fancied footprint on the
ground, or to the peaceful summer sky. When the dancing had
170 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
continued for some time the chief, Nae'tawab', entered the circle,
wrapped in a cotton blanket of large pink plaid. Smiling to all, he
took the chair placed for him and threw back his blanket, disclosing
a magnificent suit of beadwork.
Then began the formal reception of the visiting Indians. This
took the form of speeches interspersed with war dances, the speeches
being impromptu in the old Indian style.
Nae'tawab' went across the circle to a row of visiting Indians and
shook hands with each, giving some pleasant word of greeting. They
did not rise when thus addressed. After Nae'tawab' had returned
to his seat the drum gave out the rhythm of the war dance, and with
an exclamation of How how the men sprang to their feet and danced
around the drum, each man dancing alone and using his favorite
gestures and fancy steps. This gives unlimited scope for the exhi-
bition of individual skill and proficiency. In these dances the men
did not all move in the same direction; often those nearest the drum
circled toward the east while an outer circle moved toward the west.
As soon as all were seated a speech was made by an Indian from
the White Earth reservation. He said: "My friends, there are many
white people in the part of the country from which we come and we
follow many of their ways when we are at home, but I want to tell
you that we have come to this celebration as Indians, not as white
men. We wish to be Indians in everything while we are with you and
we want you to think of us only as Indians, like those of the old days.
I have done."
The seated braves said How Tiow how, and then danced again.
After this another man made a speech saying, "My friends, about
a month ago my little daughter died. I have been very sad ever
since; but as I am with you all here to-day I forget my sorrow and
am entirely happy again. I have done."
The braves said How Jiow how, and danced again.
There was no apparent order in these speeches. The speakers
walked back and forth before their little audience, using simple
gestures and sometimes waiting to hear How how after a particu-
larly telling sentence. Patriotic speeches were made exhorting the
Indians to appreciation of the day and emphasizing the fact that
their gathering formed a part of a great celebration which extended
all over the United States.
Nae'tawab' reserved his speech until the last, delivering with great
oratorical effect a speech such as a chief should make. He stated
especially that there would be no festivities on the following day, as
it was Sunday, and he wished his people to show due respect to the
Ruler of All by strictly observing the day.
Then they danced for the rest of the day, singing the various war-
dance songs familiar to Chippewa on the several reservations.
DENSMORE] CHIPPEWA MUSIC 171
At about 8 o'clock in the evening the sound of the drum was heard.
A crowd from the camp was moving toward an old store, Nae'tawab'
leading and the drum in the midst. Before this building they stopped
and began to dance around the drum, all singing the high droning
melody of the "begging dance." Soon a shifting of the crowd showed
that they were going toward the Chippewa trading store. Nae'tawab'
was the leader, dancing and waving a little flag. Standing before
the store he faced the Indians, dancing with all his might and urging
them to sing louder and louder. Soon the trader brought out a box
of oranges which he distributed; then the melody changed slightly to
the ' ' thanks-for-a-gif t " song, and the crowd passed on to another store.
The scene presented a picture never to be forgotten. A bright
light from the store windows flooded the grotesque crowd, while,
beyond were the gathering shadows of the night. Nae'tawab',
growing more and more excited, was on the platform before the store
waving his flag and dancing. His suit of beaded velvet glistened in
the light and his dancing was wonderfully graceful.
Later they took their way up the hill toward the camp. Singing
their strange, high melody, they vanished in the night and only the
song remained.
On Sunday the camp was quiet. Monday morning saw the fes-
tivities resumed. Dancing began about 10 o'clock and lasted until
late at night. The feast was one of the chief events of this day and
consisted of boiled beef and soup. The beef is cut in pieces the size
of a man's hand and boiled until there is very little taste in it.
When served, it is dry and can be taken in the fingers. The broth
is served separately as a drink, some of it being taken home by the
people, who bring little pails for the purpose.
At this dance a huge kettle containing the meat was brought into
the dancing circle. One of the men in charge of the feast then
selected five or six of the older men and led them one at a time to the
kettle, where they seated themselves and began to eat. The first
men thus selected were not in dancing costume, and the writer was
told that they were thus honored because of their bravery in the old
days. When one of them had finished eating he selected someone
from the circle to take his place at the kettle, leading him forward
with some little pleasantry. The Chippewa are a people whose
smiles come very readily when they are at ease and with their friends.
Portions of the meat were also passed to those who sat in the dancing
circle, and the kettle was removed when the feast was finished and
the dance resumed.
On Monday a pony was given away. It was done very simply.
A "woman's dance "a was in progress, and a woman walked across the
a See p. 192.
172 BUREAU OF AMERICAN ETHNOLOGY [bdll. 45
circle and handed a little stick to a man, who took it and danced with
her. The writer was told that he afterward gave her an equivalent
in beadwork. It is the invariable custom that a valuable gift must
receive an equal return and such an exchange at a dance is usually
arranged between the parties beforehand.
The principal "woman's dance" was held on Tuesday. Almost
every woman brought a bag of gifts. This she laid on the ground
beside her. In beginning this dance the drum gave the proper
rhythm and the singers began one of the "woman's-dance" songs.
Three young men rose together and rushed across the circle with the
swoop peculiar to Chippewa dancers when making a concerted move-
ment. Stopping in front of three women, they danced before them,
laid down their gifts, and then rushed back again, seating themselves
and instantly looking as though nothing had occurred. During the
dance it is not customary for a man to ask a woman to dance unless
she has previously asked him to do so. This was evidently a kind
of preliminary demonstration. It was half an hour before the dance
was fairly started. At first the circle was small, only large enough
to reach around the drum, but later it occupied the larger part of
the inclosure. In this dance the people faced the drum, moving
slowly, the women with a side wise shuffling step, the men often using
the step of the war dance.
The "woman's dance" is a merry one, and this was for pleasure
rather than for the gifts, so it was -continued longer than usual. If an
exchange of gifts is the important part, it is arranged that each dance
shall last only two or three minutes, the dancers then seating them-
selves and gifts being once more presented. The gifts at this dance
consisted principally of calico, though some large pieces of beadwork
and one pony were given away. Nae'tawab' presented his pink plaid
blanket to one of the women. It is the custom for a dancer to hold
aloft the gift he or she has received that all may see it. To the
spectator this is more interesting when the gifts are more varied and
frequent, consisting of pipes, bead pouches, bead chains, strings of
sleigh bells, and beaded jackets. The writer has even seen a man on
a similar occasion "dance away" his beaded velvet costume,, one
piece at a time, finally leaving the circle wrapped in a blanket.
The dancing, which began in the morning, was continued with little
intermission until after midnight. The scene was lighted by a full
moon, round and red above the pine trees. Hour after hour was
heard the tireless throb of the drum and the shrill voices of the
singers; at last they ceased and the camp fell asleep — all but the dogs,
which barked until nearly daybreak. At last they too were quiet, and
one was reminded of the words of an old Chippewa war song, "When
the dogs are still I will be ready to do mischief." A gray light strug-
DBNSMOBB] CHIPPEWA MUSIC 173
gled across the sky. It was the hour most dreaded in Indian warfare,
the hour when so many terrible attacks were made. Yet in forget-
fulness of the past and without fear of the future the little village
slept.
The Singers of Red Lake
The personality of an Indian singer must be taken into considera-
tion when analyzing his songs. This is the more important if the
singers are of a primitive type. Under such conditions one en-
counters strongly marked individualities, each of which may offer
its particular sort of song or sing familiar songs in its own par-
ticular way.
The songs secured at Red Lake are placed in their several classes,
but a description of the singers is herewith presented, in order that
those who wish to judge a song by the personality of the singer may
have an opportunity of doing so.
Six singers were employed, and 48 songs recorded, this material
being representative of the culture on this reservation.
1. GFWITA'BINES ("SPOTTED BIRD")
This singer was a man about 50 years old, who combined the old
and the new modes of Indian life and thought. He spoke English
fluently and sent his children to the government schools, yet his
special pride was his singing, which he said was in the ' ' regular old
Indian way."
These facts regarding his personality must be taken into considera-
tion in an estimate of his songs.
He recorded 18 songs, 6 of which were major and 12 minor in
tonality. They were divided as follows: 6 moccasin-game songs, 3
woman's dances, 2 war songs, 2 old scalp dances, 1 song concerning
a vision, 1 song concerning an historical event, and 3 repetitions of
songs secured elsewhere.
All the songs except the first one were accompanied by the drum.
In most instances the repetitions of the song filled the entire phono-
graph cylinder.
The value of this series of 18 records lies in its relation to the style
of Indian singing as well as to accurate preservation of melodies.
Gi'wita'bines varied the songs which he sang five or six consecutive
times, frequently repeating certain phrases or the last half of the song,
and embellishing the melody. In transcribing these songs that portion
of the record has been selected on which the song was evidently sung
through once in a direct way, no attempt being made to transcribe
variations therefrom which were clearly made for effect.
It is worthy of note that in these songs the pulse of the measure
beginning is always repeated accurately, no matter how much the
174 BUREAU OF AMERICAN ETHNOLOGY [bull. 45
subdivision of the count, the less important melody progressions,
or the order of phrases may vary. The significance of this can be
appreciated only after an examination of the songs, and those who
wish to follow closely this study of rhythm may tap the rhythm of
the songs with a pencil, following the note values as definitely as
possible. It is not necessary that one should be able to hear men-
tally the melody; the general progression can be seen by the posi-
tion of the notes on the staff.
In these, as in songs previously considered, the tempo of the drum
is steadily maintained, the tempo of the voice varying somewhat
from the metronome indication.
The special points of interest in this group are:
(1) Two songs on the second five-toned scale, nos. 80 and 169.
(2) Two songs based on the tonic and submediant chords, nos.
186 and 159.
(3) A slow melody with a very quick drum, no. 171.
(4) A song interrupted by sharp ejaculations repeated on the
same tone, no. 176.
(5) Range of the singer's voice from C sjiarp on the bass clef to
B on the treble clef. Many songs have the compass of a twelfth.
(6) A rhythm of three pulses of the drum equivalent to two of the
melody, a rhythm in which the pulse of the drum has no apparent
relation to that of the melody, a practice of letting the drum follow
the voice and of using an accented sixteenth note followed by a
dotted eighth are of frequent occurrence, but are found in the work
of other singers also.
2. WABEZIC ("MARTEN")
Wabezic' was a most interesting character. He was part Cree and
belonged to the Pembina band living farther north, but he married a
Chippewa woman and now lives at the village of Sandy River, on
the Red Lake reservation. He could neither speak nor understand
English. Wabezic' was short in stature and different in feature from
the Chippewa. He was a wiry, active little man, with quick, keen
eyes, a good dancer, and had the general appearance of a man accus-
tomed to depend on his own resources. He said that he was named
Wabezic' because he was so small.
This singer gave twelve songs, five of which were major and six
minor in tonality. One was so wandering as to suggest a possibility
that it was incorrectly remembered. It is transcribed, however, as
it was sung. The main characteristics of these songs are the per-
sistence with which the drum beat follows the voice, the frequent
descent of the minor third, and the tenacity with which the rhythm
is maintained even when the melody is imperfectly repeated.
DHNSMORE
CHIPPEWA MUSIC 175
This singer was an excellent subject, but it was difficult for him to
sing so many songs without preparation; thus some of the songs
are sung more firmly and repeated more accurately than the others.
3. GI'NAWIGI'CIG ("EAGLE DAY")
This singer was an old man who could neither speak nor under-
stand English and was almost totally blind. He sang seven songs,
six of which were minor and the other merged into minor at the
close. He was a typical old Indian and most of his songs are of
value.
Musically these songs differ little from those of Wabezic'.
4. GAGE'BINES ("THE EVERLASTING BIRD")
This singer was a young man, a mixed-blood, who had a pleasing
voice and a particularly agreeable manner, both in singing and
speaking. His features suggested the possibility of some negro
ancestry and his songs have a suggestion of the plaintive quality
and peculiar swing of negro melodies.
He sang the plaintive songs so well that he was encouraged to
keep to that style; he gave eight songs in all, five of which were love
songs and the other three woman's dances.
It is noteworthy that two of the most plaintive songs were major
in tonality. Three of the songs were major, three were minor,
and two were duplicates.
These songs have a wide range, some of them having a compass
of a twelfth. The love songs usually begin on a high note and the
minor third is much used in the descending progression.
5. WILLIAM PRENTISS
This singer was a young man, one of the best dancers and also
considered one of the best singers. He spoke English freely and
was very intelligent. He only sang two songs. One (no. 187)
was the "begging song" used on the evening of July 4; the other
(no. 174) is of interest, as the rhythm so closely resembles that of
negro music. Both the songs given by this singer were minor in
tonality.
6. JOHN MARK
This young man recorded only one song. This shows an inter-
esting rhythm and a graceful melody, but as the voice was not
adapted to the phonograph no further records were made. The
importance of rhythm is shown by the fact that singers who recorded
only a few songs usually gave songs of very peculiar rhythm. This
suggests that the rhythm is more readily remembered than the mel-
ody. It has already been noted that in renditions of the same song
by different singers the rhythm shows loss variation than the melody.
176
BUEEAU OF AMEEICAN ETHNOLOGY
[BULL. 45
Iii all the songs recorded at Red Lake the intonation is most
accurate on the octave and fifth (or twelfth) and most noticeably
uncertain on the fourth and seventh. Accidentals are usually given
with special firmness and accuracy. Secondary accents are seldom
found; thus the songs are divided into measures of 2-4 rather than
4-4 time.
The rhythmic peculiarities of certain songs, which resemble the
rhythmic peculiarities of negro music, may be traceable to a vestige
of negro ancestry among the Chippewa of northern Minnesota.
Similarly, the melodic as well as the rhythmic features of certan
songs, which suggest what is commonly known as "Scotch music,"
may be traceable to songs heard years or even generations ago from
Scotch traders, many of whom were connected with the Hudson's
Bay Company. This is offered as a tentative explanation. If it be
true, it is an interesting point that both these elements should have
left a rhythmic stamp on the music of a locality. The melodic
resemblance is less important, as the tonality commonly known as the
" Scotch scale" is found in the music of many primitive peoples.
War Songs
No. 154
Sung by Gi'wita'bines
Recorded without drum
9-3—0— 0—0—0+0 f-
(Catalogue no. 131)
— fl-4-fi. J— [ -4-00—0-0-
Voice 0 — 80
• a 4 •
---*=$
Analysis. — This song was said to come from Standing Rock, South
Dakota, and is one of the Sioux songs adopted by the Chippewa,
though always credited to the Sioux. No words were used. The
song was sung four times, without the drum. The length of the notes
of the first ten measures varied slightly in the renditions, but from the
tenth measure to the close the rhythm was regular and the tempo as
indicated, J = 80. It is a peculiar rhythm, which makes the exact-
ness of its repetition more interesting. In each rendition the differ-
ence between the flat and the natural in the fourth measure from the
last is worthy of note.
CHIPPEWA MUSIC 177
No. 155. "Inside the Cave" (Catalogue no. 140)
Sung by Gi'wita'bines
Voice J =132
Drum J =132
3=a
^jgSE^Cl IJ1 j I 5=1
33 l^~=3===j=J^^=i=&"=3^^g53z=_^
=J=1
1
A - pie-kwe- ka - uii-gauj.
a - bi -dot
• . 4
O-Illls
1
9*
* ? ?
Apickwe/kamigaug/ Inside the cave
Abidog' That is where, it seems,
Ni/mico/mis My grandfather is
This is a very old song. The phonograph record was played for a
man on the White Earth reservation, who recognized it at once and
said "That is an old Chippewa war-dance song of the days before
they were friendly with the Sioux."
Analysis. — This song was sung five times and in four of these ren-
ditions the last part is repeated as marked.
The beat of the drum is in quarter notes, preceded by an unac-
cented stroke.
No. 156
Sung by Gi'nawigi'cig
(Catalogue no. 172)
Voice J — 92
Drum J — 96
(Drum-rhythm similar to No. 1)
This song shows a very rapid drum beat with a slow melody
rhythm. In the beat of the drum we find an impetus to quickened
pulse and rapid action, while the slower melody rhythm suggests con-
12692°— Bull. 45—10 12
178
BUREAU OF AMERICAN ETHNOLOGY
[BHLL. 45
trol and restraint. It is worthy of note that the tones marked (•
were prolonged equally in each repetition, but not sufliciently to be
indicated by a note value.
No. 157 (Catalogue no. 173)
Sung l>v Gi'nawigi'cig
Voice J =168
Recorded without drum
vm
*=t
^=?=c
=3
*m
-±-w=±
4r-&~
A.
i==i§gi
*3
This song contains three instances of a sixteenth note accented and
followed by a dotted eighth. This subdivision of the count thus far
has been found only at Red Lake and is not a characteristic of Chip-
pewa music.
No. 158
(Catalogue no. 178)
Sung by Gi/NAWiGi/ciQ
Voice J =104
Recorded without drum
-•- -•- • -•-•- -0-
rff * •• ^
=£5^=
-# * f-
pfe^g=H
gp|^_L-
=t=U5P— 1 — u^
T~T-t-
^ ** pfc^H
This, a short song, was sung seven times with no material variation.
No. 159. Scalp Song (Catalogue no. 146)
Sung by Gi'wita'bines
Voice J =104
Drum
( Drum rhythm similar to No. Ill )
m
?=r
5
Analysis. — This song contains only the tones of the fourth five-
toned scale on G and ends on the third tone of that key, and the only
two chords agreeable to the melody are the tonic and submediant
ch( >rds. This melody is characterized also by the descent of the minor
third. There is no interval in the song larger than the minor third.
DENSMORE]
CHIPPEWA MUSIC
No. 160. Scalp Song
Sung by Gi'wita'bines
179
(Catalogue no. 147)
Voice J— 120
Drum J= 120
(Dram-rhythm similar to No. Ill )
-•- • -•- -a- -m- 3
m
% i — .
3:
££££££££=&►*
*
f=SEBEBI2
-•- -m-
g^B^^fpfg^g
§1
g^E^:
izzt
i2zp=p=zpz=pz :pzz^=z*=p;
Analysis. — This song was sung four times, and no two renditions
are identical, the differences consisting mainly in the interpolation
of long repetitions of the same tone and in a variety of ornamental
phrases. The rendition selected for transcription is the one contain-
ing the least of such material.
No. 161. Scalp Song
Sung by Wabezic'
(Catalogue no. 167)
Voice J — 112
Drum J- 112
t^£-j?^-t-*-
P—P
2*
g^L^E^gte
ftu rr 2r?
^3=4=*
S
^
r?s. w H~i 1 1 i — I •— •-ri-n-^ — P^-m-P — P — o — P-r-P — P*-»-m — ; |— I-
95£
^EH
p^[
Sf
II
* — * — * — rt
Analysis. — This song contains only the tones of the minor chord,
and the fourth of the scale, which is used as a passing tone. It was
180
BUREAU OF AMERICAN ETHNOLOGY
[bull, ir
sung four times. The intonation was wavering but the rhythm was
repeated exactly. The record shows the drum to be perceptibly
behind the voice, yet having the same metric unit.
No. 162. "The Sky Replies"
Sung by Wabezic/
(Catalogue no. 166)
Voice J =108
Drum J- 108
( Drum-rhythm similar to No. Ill )
Si
*— ^
t
f-r-t-
l^gg^ii
*?s
si
a=t
iii
• — •-
S3
I
Weja'wuckwago'deg The blue, overhanging
Gi'eig..... - sky
Nina'pomigwun? Answers me back
The singer said that he once killed a Sioux and sang this song with
the scalp.
This song was sung very firmly, without hesitation, and with good
intonation. The three records are identical in every respect. The
drum beat always followed the voice. The words were not sung
clearly enough to be transcribed.
War Songs— Red LaTct Reservation
Melodic Analysis
TONALITY
Number of
songs.
Catalogue numbers.
7
140
146,147,166,167/172,173,178
Beginning major and ending minor
Total
1
131
9
DBNSMOBE 1
CHIPPEWA MUSIC
181
Melodic Analysis — Continued.
TONE MATERIAL
Number of
songs.
Catalogue numbers.
1
2
1
2
3
140
172, 178
173
147,167
131,146,166
Total....
9
IEGINNINGS OF SONGS
Beginning on the octave
Beginning on the fifth
Beginning major and ending minor.
Total.
146, 147, 166, 167, 172, 173, 178
140
131
ENDINGS OF SUNOS
Ending on tonic.
ACCIDENTALS
Songs containing no accidentals .
FIRST PROGRESSIONS
First progression upward
First progression downward.
131,146,172,173 ■
140,147,166,167,178
PtHYTHMic Analysis
6
3
131,140,147,166,167,178
9
4
2
3
9
140, 147, 166, 167
146, 172
140,173,178
Total ,
Structural Analysis
1
8
140
131,146,147,106,167,
m,
Total
9
182
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
Voice J = 88
Drum J =88
Love Songs
No. 163
Sung by Wabezic'
(Catalogue no. 161'
^^=^1^^=^=
bfcfcSf
A-be - jic e e A-be -jic e e
The singer said that " in this song a young man asked a young girl to
go and walk with him and said that if she did not come this evening he
would come and ask her again to-morrow evening."
In this transcription the sharps and flats indicate the pitch of the
tones, but do not imply an established key.
No. 164 (Catalogue no. 155)
Sung by Gage'binks
Voice J - 69
Recorded without drum
* -#-•-#
• ■#
gi«i===^
,-r n
Tz •_ jl
— ' — ' — ^-p-r-lf^
1=W
fct^J
«*
^iSi
^F=SF
1
!§^«S=I=^^ilP==l
:?-•=•—*
^§Sii=Sl==^=i
-p=i
#-f--^-
i=
*te
^
F=f=S
— t^»-p^0-
=E=R
=J^Si[S==
, p. p ^■g_rf:_^>-#^>
-
S
iSiili
DENSMORE]
CHIPPEWA MUSIC
183
This song is an interesting example of a plaintive melody in a
major key.
No. 165. "In her Canoe" (Catalogue no. 157)
Sung by Gage'bines'
Voice J -60
Recorded without drum
B^^ii^^i^i^^is^
^=B?-]J^--i-g=^=ET-P— B-E-- ^^=ftfc^irfc^z3
gia^
Sfei^|»l^^^iE|
w-h— •-
szzt:
fe
Miau' I see her
Nin'imu'ce My sweetheart
Kaniwa'wasa'boye'su Paddling her canoe
This is a song of a young man who stands on the shore watching
the maiden of his heart as she paddles her canoe on the lake.
The song is slow and is a good example of a plaintive melody in a
major key.
No. 166. "I am Going Away" (Catalogue no. 151)
Voice J =72
Recorded without drum
Sung by Gage'bines'
+ -P--P
#hJ££
ssh
p=p
Ei:
^m
* •
&mp=z
:$3ft=ti:
r
• •*-*
'-&t±£±£*
^a^zfcd-rpF
• p ^
s^g:
184
BUREAU <)F AMERICAN ETHNOLOGY
[bull. 45
First verse
Umbe Come
Ma/noni/gamadja/ I am going away
Ma'no I pray you
Bln'a .--It *
,T. , , ,. ^Let me <jo
N urgama'dja J
Neyab/ninga/wicin/ I will soon return
Ge'go Do not
Mawi'miciken' Weep for me
Second r< rs<
Na Behold
Tci'miwenda'min j . . We will be very glad
Tciwa'bundiyung' To meet each other
Dagnlc'Ina'n When I return
Ge'go Do not
Mawi'miciken Weep for me
Analysis. — This melody is particularly graceful and pleasing.
The tempo is not rigidly maintained. The metronome mark indi-
cates the general tempo and the song is divided into measures by
means of the accents. The words are not sufficiently distinct for
transcription.
No. 107. "Come, Let II
Sung by Gacie'sin:
Drink
(Catalogue no. 152)
Voice 0' = 53
Recorded without drum
S
\Ut±>£J+
EEE
=P=P=
!^1i
Umbe/ Come
Minikwe'da Let us drink
This is the song of a lovelorn youth who meets another and asks
if he "has a bottle to cheer him up."
Analysis. — This melody is not unlike the preceding, except that
it is set to a slower beat. The words can be recognized, but are
too indistinct to transcribe.
i.knsMoreI OHTPPEWA MUSIC
Love Songs !!<</ Lake Reservation
185
Melodic Analysis
tonality
Number of
songs.
Catalogue numbers.
3
2
155, 157, 101
151,152
5
TONE MATERIAL
Fourth five-toned scale
Octave complete
Octave complete, except sixth .
Other combinations of tones...
Total .
157
151
152
155,101
BEGINNINGS OF SONUS
Beginning on the twelfth.
Beginning on the seventh .
Beginning on the third
Total .
151,152,155
161
157
F.NDINOS <>F SUNOS
Ending on the tonic .
Ending on the fifth.
Ending on the third .
Total
First progression upward . . .
First progression downward
FIRST I'KOUKKSSIONS
151,152,101
155
151,157
152, 155, 101
ACCIDENTALS
2
1
1
1
155, 157
151
152
101
Total
5
186
BUREAU OF AMERICAN ETHNOLOGY tBULL. 45
Rhythmic Analysis
Beginning on accented portion of measure . .
Beginning on unaccented portion of measure
Total
Songs recorded without drui
Number of
songs.
Catalogue numbers.
151, 152, 155,157
1G1
Structural Analysis
None
5
MOCCASIN-GAME S< >NGS
No. 16<S
Sun" by Gi'wita'bines
(Catalogue no. 133)
Voice J -92
Drum J- 116
( Drum-rhythm similar to No. Ill)
fe#^£^Egg==±
M^~
■i T~^ 1
2 3SS^-
—
a
v '
±4 H
• J 4
J
i-t=^=
Analysis. — The singer said that lie learned this song when he was
a boy. The song was sung three times, the measure lengths and
melody remaining the same, but the note values varying in the latter
portion of the song.
The chief interest lies in the fact that there is no apparent relation
between the pulse of the melody and the pulse of the drum, the
melody being J =92 and the drum J =112, each being maintained
very regularly. Each drum beat is preceded by the short unaccented
stroke which characterizes the rhythm of the moccasin game.
densmore]
CHIPPEWA MUSIC
No. 169
Sung by Gi'wita'binks
Voice J — 104
Drum J— 120
(Drum-rhythm similar to No. 143)
187
(Catalogue no. L42)
m
^pt^
.# — *-
a^J
JH
t§
BB^^
31:
f
S^
Analysis. — This son"; was sung six times, the pulse of the drum
being maintained at J =120 while the voice is as steadily held at
J =104. The note values and measure lengths are the same in all
renditions. The tonality of the song is similar to the preceding
except that the second of the scale is given less prominence, being
used only as a passing tone.
No. 170
Sung by Gi'wita'binj
(Catalogue no. 144)
"Voice J = 84
Drum J - 108
(Drum-rhythm similar to No. 143)
Analysis. — In this, as in numerous other instances, there is no
mathematical proportion between the metric units of voice and drum,
each expression being independent of the other.
188
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 171 (Catalogue no. 1 is)
Sung by Gi'wita'bines
Voice J — 72
Drum J— 112
(Drum-rhythm similar to No. 143)
t
J= J=.
W •
- £.
li=^g^=fE
t=^
£-
S^^li^ii^l^g
Analysis. — For transcription this was one of the most difficult
songs in the entire series. It was sung three times, the essential
points of the rhythm being identical throughout but the metric unit
particularly hard to find. In this, as in similar instances, the metric
unit, when found, can be readily traced throughout the record.
No. 172
Sung by Wabezio'
(Catalogue no. 171)
Voice J— 120
Recorded without drum
Analysis.— This song contains the tones of the second five-toned
scale on E flat. Its interest lies in the prominence of D flat, giving
the impression of a song containing only the minor triad with minor
seventh added."
The peculiar ending of this song gives it a slight resemblance to a
negro melody.
No. 173
(Catalogue no. 174)
Sung by GCnawigi'cig
This song is in minor tonality, the first part comprising only the
tones of the tonic chord and the last part containing the tones of the
chords on the fourth and second of the scale. This suggests more
harmonic possibilities than most of the songs.
a For a consideration of this tonality, see analysis of sunj; no. 116, p. Kid.
CHIPPEWA MUSIC
189
Voice J — 112
Drum J -112
(Drum-rhythm similar to No. 143)
mzMim^mim=m=i=mi
953
3f:
t?
. J Ltfa
s
No. 174
Sung by William Prentiss
(Catalogue no. 150)
Voice J 84
Drum J =84
(Drum-rhythm similar to No. 143)
u
p?=i*
1
-&' *
Analysis. — This melody is based on the tones of the second five-
toned scale. It contains a subdivision of the count by which a short
tone occurs on the accented portion of the count. This peculiarity
has been found only in the songs collected at Red Lake.
No. 175. "He Gave Us a Double Crack'
Sung by GCwita 'bines
Voice J = 80
Drum J= 132
(Drum-rhythm similar to No. Ill)
(Catalogue no. 134)
4A
m=^^^m^^^m
WORDS
Kinicono'kiwi'igonun' I say, he gave us a double crack
190
BUREAU OF AMERICAN ETHNOLOGY
[BULL. 45
Analysis. — These words refer to the skill of the opposing player
and are not sung in a melodic way but spoken rapidly between the
repetitions of the song. The term "double crack" is used to indicate
a certain score in the game.
This song shows the unusual range of the singer's voice.
The melody is sung slowly, as will be seen by the metronome mark
(J =80), while the drum is rapid (J =132), each beat being preceded
by an unaccented stroke.
No. 176. "I am Standing till Daylight" (Catalogue no. 143)
Sung by Gi'wita'bini
Voice
( Drum-rhythm similar to No. 143)
i§^i^^-:i%pLfii
-*- u
§si
Tt- '•- *
■&=$■
Ke-ga-be-di-bik
ka - pa - wi - yan
Kagabedibik' I who all night long
Wa/bunika/baniyan/ Am standing up until daylight
Analysis. — In the six repetitions of this song the words occur only
twice, and are used in two different portions of the melody, showing
the freedom with which words may be omitted from or introduced
into moccasin-game songs. The sharp interjected tones in the sixth
arid twelfth measures undoubtedly represent the exclamations given
when a score is made.
In this song the metric unit of the voice is slower than that of the
drum, a peculiarity of many songs which combine the element of
restraint and control with the element of physical excitement.
CHIPPEWA MUSIC
191
Moccasin-game Songs — Red Lake Reservation
Melodic Analysis
TONALITY
Major tonality.
Minor tonality..
Number of
souks.
Catalogue numbers.
133, 134, 142, 143, 144, 148, 15C,
171, 174
TONE MATERIAL
G
2
133, 134, 142, 148, 150, 151
143, 144
174
0
BEGINNINGS OF SON',
Beginning on the twelfth..
Beginning on the fifth
Beginning on the octave. .
Beginning on the tonic". .
Beginning on the seventh.
Total.
2 133, 142
3 | 143, 148,
1 174
144, 150
134
ENDINGS OF SONGS
Ending on tonic .
ACCIDENTALS
Songs containing no accidentals.
FIRST PROGRESSIONS
First progression upward —
First progression downward.
133, 142, 144, 148, 150, 171, 174
134, 143
Rhythmic Analysis
Beginning on accented portion of measure.
Metric unit of voice and drum the same.
Metric unit of voice and drum different.
Recorded without drum
Total.
150, 174
133, 134, 142, 143, 144, 148
171
Structural Analysis
3
6
133, 142, 174
134, 143, 144, 148, 150, 171
9
i the lowest tone occurring in these songs.
192
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
Woman 's-dance Songs
The woman's dance is the favorite social dance among the Chip-
pewa at the present time. It is said to have been learned from the
Si.;ux. Both men and women engage in it; an invitation to dance
is accompanied by a gift, and the first invitation is usually given by
a woman, the man returning it with a gift of equal value. The
dancers form a circle, facing the drum and moving clock-wise with
a shuffling step.
The drumbeat of this class of songs consists of an accented stroke
preceded by an unaccented stroke about one-third its length. The
songs show no general characteristics, but most of them are rather
simple in melody and rhythm.
No. 177. "I HAVE BEEN WAITING
Sung by Gi'wita/bines
(Catalogue no. L32)
Voice J:_ 200
Recorded without drum
w**
m^m^^^^ff^f^^
^
i
IE=£
**—*
SE^=
i— rn
i~ *-^*
:3=J
k
#- -*- -fi-
t=t
^t>
Ett=t»±5
?. ^ J ^ ^: ^
t±z£=fc£
I
mMs&^l^msmm^m
<?- #. -?. .p. .?. m ^ _^_ ^ _?
:| t—ft
£=t=tf
-(^-«
=fcfc
^
^*s#
^ -*-
Si*
II
£*- .
«
-ft- *
^—rm
ztE3
? -?. h». ^- JL
^f^-rrfTjrt^j
)=t=H
^^^^^^Tni2 T TTl^^^
CHIPPEWA MUSIC
193
WORDS
Nin'imQ'ce My sweetheart
MewiciY A long time
Kibiin' • I have been waiting for you
Gibilc'ayun' To come over
Imaai/ayan/ Where I am
Analysis. — These words can be recognized on the phonograph
record, but are too indistinct to be readily transcribed. The chief
interest of the song lies in the range of the singer's voice and in the fact
that the intonation is correct on both the highest and lowest notes.
The song was sung twice and the general progression of the melody is
duplicated accurately, though some of the note values vary.
Voice J = 108
Drum J 116
( Drum-rhythm similar to No. Ill )
No. 178. "Come, Dance
Sung by Gi'nawigi'cig
(Catalogue no. 175)
^A A
Umbe
Dance
Ni'mig
Analysis. — A decided syncopation in the last measures marks this
song as different from the others. The Words are spoken rapidly on
a melodic tone, as though the dancer turned to some one sitting in
the circle and urged him to dance, without interrupting his own song.
No. 179 (Catalogue no. 135)
Sung by Gi'wita'bines
Drum J— 100
( Druin-rhy turn similar to No. Ill )
Analysis. — If this song were more exact in its repetitions, we might
attach more importance to its beginning with the chord of A minor
and ending with the chord of E minor.
12692°— Bull. 45—10 13
194
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 180 (Catalogue no. 141)
Sung by Gi'wita'bines
Voice J- 132
Drum J - 132
(Drum-rhythm similar to No. Ill)
•
-*-•-#-# -Bl-
fe
V-J-J:-
• 4-
Si
I^^I^^eI
No. 181
Sung by Gage'bines
(Catalogue no. 153)
Voice J— 103
Drum J - 120
(Drum-rhythm similar to No. Ill )
aii^^-
gg^^g^g^Eai^^
ate
^=r^«
Hfe^
g
^a^^ta
CHIPPEWA MUSIC
195
Analysis. — This song has no words. A repetition was secured on
the day following the first renditions. On comparison the renditions
Were found to be identical in rhythm and in the accuracy with which
the accidental is sung. A slight difference occurs in the number of
times which the first and last phrases are repeated. The rhythm is
distinctive and is interestingly shown by ''tapping it out" with a
pencil.
No. 182 (Catalogue no. 154)
Sung by Gage'bines
Voice J 112
Drum J - 120
(Drum -rhythm similar to No. Ill)
# -ft
1^3
4=J
SS=i
p3^R5
.#-•-•-
m
m^^mm^m^m=^
No. 183
Sung by John Mark
Voice J— 112
Drum J =112
(Drum-rhythm similar to No. Ill)
^.~ — »,_ri m
(Catalogue no. 159)
* 4 4 *z
4=£?
e=o
•ztiztii
This is the only song given by the singer; it shows a rhythm
which is simple but very interesting. The only song offered by a
singer is usually characterized by peculiarity of rhythm, indicating
that the rhythm of a song is retained by a mind which does not
accurately retain the melodic progressions.
No. 184
Sung by Gi'nawigi'cig
Voice J = 92
Drum J— 116
(Drum-rhythm similar to No. Ill)
.ft. .ft. ,. m .
(Catalogue no. 177)
^m
m-z
j#
m
SF±f=
i=t=
?=fm-
X=^£-^
glpH
196
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 185. "WHERE ARE You?" (Catalogue no. 86)
Sung by Cagan'asi
Drum J - 96
(Drum-rhythm similar to No. Ill)
r r r
^j^^g^^g^^jj^i
»
^L
1
Oki'tcita' Leader of the warriors
Toki'ya Where are you?
This is an old melody sung at a woman's dance given in special
honor of some warrior. In such a case two women would provide
the gifts and act as hostesses. At the opening of such a dance this
song would be sung by the men at the drum, calling for the war-
rior in whose honor the dance was given. As soon as the song
began the warrior would rise and begin to dance; then the two women
would rise, after which the guests would join the dance. When the
song was finished the warrior would relate his principal deed of valor;
then the women would distribute the gifts they had provided, it
being understood that they gave these presents in behalf of the
warrior.
Analysis.— The accidental in this song was accurately given in all
the renditions. A sixteenth note accented and followed by a dotted
eighth is a rhythmic peculiarity of this song.
Woman' s-dance Songs— Red Lake Reservation
Melodic Analysi
TONALITY
S
•
Number of
songs.
Catalogue numbers.
3
6
86,132, 159
135, 141, 153, 154, 175, 177
9
DENSMORE
CHIPPEWA MUSIC
197
Melodic Analysis- Continued.
TONES COMPRISED IN THE SONGS
Number of
SOUL'S.
Catalogue numbers.
a
1
1
2
9
BEOIXXINOS OF So.MIS
Beginning on the eleventh .
Beginning on the octave . .
Beginning on the fifth
Beginning on the third
Beginning on the second . .
Total.
154
153, 175
86, 132, 135, 141
177
159
EXDIXCS <)F SONUS
Ending on the tonic.
Ending on the fifth..
Ending on the third .
Total
0 t 86, 132, 141, 153, 154, 175
2 135, 159
1 177
FIRST PROGRESSIONS
5
4
Total
9
ACCIDENTALS
Songs containing no accidentals .
Sixth lowered a semitone
Rhythmic Analysis
Songs beginning on accented portion of measure
Songs beginning on unaccented portion of measure .
Total
Metric unit of voice and drum the same
Metric unit of voice and drum different
Recorded without the drum
Total \ . .
8li, 135, 141, 159
153, 154, 175, 177
132
198
BUEEAU OP AMERICAN ETHNOLOGY
Structural Analysis
Lbull. 45
Number of
songs.
Catalogue numbers.
None
9
Unclassified Songs
No. ISfi. Song referring to an Historical Incident (Catalogue no. 139)
Sung by Gi'wita'bin es
Voice J= 120
Drum J - 120
( Drum-rhythm similar to No. Ill )
ggildE^kB
Niu - ga - gi - we- wi - ni
- ni - dog we we we nin
- gi-we- wi-ui - gog ma-ui - dog
life
4
J A—
=1
— i-
-i^m
4
^w —
br
L IJ
3=^=t2b=t^=t^i
Sasfe
H>|3:
Nin'gagiwe'winigog' They will take me home
Manidog' The spirits
The free translation of the words as given by the singer was as
follows: "The thunders will take me home whenever I mind to go
home, my friends, and the wind it will take me home, too."
Narrative. — This song is based on an historical incident which was related on both
the Red Lake and White Earth reservations.
The story as given at Red Lake was as follows:
Many, many years ago a Chippewa Indian named Dj ige'weck fin' (" traveling on the
beach of the water") killed the trader's son and was taken to St. Paul for trial. At
dbnsmorb]
CHIPPEWA MUSIC
199
that time there was only one house in St. Paul. The man was condemned to be hanged,
but just as they were going to hang him a terrible storm arose. The clouds were right
over the tree where he was going to be hung. Lightning struck the tree and the rain
poured down so that everybody went home. They did not try again to hang the
Indian and he was allowed to go back to the reservation, where he was made a chief.
He composed this song while he was a prisoner at St. Paul.
Analysis. — This song contains only the tones of the fourth five-toned
scale on G flat, and ends on D flat, the dominant of the key. The sev-
enth of the scale, which is the essential tone of the dominant chord, is
not present in the song and no portion of the song affiliates easily with
the dominant chord as an accompaniment. Indeed, the only chords
suggested by the melody, or seeming to be desired by it, are the tonic
and submediant, thus showing a feeling for the descent of the
minor third. The repetitions of this song filled an entire cylinder,
giving ample time for noting its peculiarities. The transcription is
from a rendition about midway of the cylinder.
No. 1S7. Song of the Begging Dance (Catalogue no. 149)
Sung by William Prentiss
Voice J -84
Drum J- 112
(Drum-rhytlim similar to No. Ill )
# jl. i_ M.. .;. *. ... -£--•-. l m -•-
-0-
— V—
-Hfl
=£!&_=5-J — t- x~rj (■ f LJ i La i 1 — I i J * *
^-H
Analysis. — This is the begging song which was sung on the evening
of July 4. Its chief interest lies in the fact that the pulses of voice
and drum are so dissimilar, each being steadily maintained. The
pulse of the voice is J =84; that of the drum J =112, preceded
by an unaccented stroke. The only correspondence is that three
metronome beats at 84 are about equivalent to two beats at 112.
If the song were in double time this would be an ordinary rhythm
of "three against two," but the fact that the melody is in triple
time makes this too complicated for analysis; one can only record
the fact that these are the actual metronome measures of the pulses.
(Compare analysis of song no. 1.)
The slight prolonging of the tones marked (• is the same in all the
repetitions. It is not sufficient to be indicated by a note value, but
gives a peculiar effect of pleading. This is one of the mannerisms
of Indian singing which can not be accurately transcribed.
200
BUREAU OF AMERICAN ETHNOLOGY
No. 188. Song of the Begging Dance (Catalogue no. 170)
Sung by Wabezic'
Voice f> = 200
Drum J = 88
( Drum-rhythm similar to No. Ill )
m^iim^
FchS-T-
V 99^=
1^ f
■-3-s — f— f-
— • —
-^■MT— 1
" Ift '
^ 18 '
-l=8=r=
■#-f— fc=f=
— b"
0*
:fc=ft8
1==^
q=ftfl
@I
a=F
^
e^[
Analysis. — This song is of special interest as the phrase rhythm of
the first six measures is repeated in measures 6-12 and the remain-
der of the song contains fragments of the same rhythm. In the
repetitions of the song the rhythm of the first twelve measures is
accurately repeated, but there is a slight variation in the length of
some unimportant notes near the close.
In transcribing the song it was difficult to find the metric unit;
however, this unit was finally found to be /=200. By this meas-
urement the song was very accurately divided, certain tones having
exactly one beat, others two or three, after which the tones readily
grouped themselves into measures. The drum was next tested and
found to be beating very regularly a triple time with an accented
beat on the first and an unaccented on the third count of the triplet
of eighth notes. The metronome showed the pulse of the drum to
be J =88. The accent bell of the metronome was then set at a triple
time and the indicator at 200 and the time space noted between the
accents as given by the bell. This time space was almost exactly
88; therefore if the song were in triple time throughout, the drum
and voice would coincide, but this synchronism is broken by the
introduction of measures in double time while the drum continues to
beat in triple time.
It is worthy of note that the A sharp in the fifth measure was
always given correctly, but that the intonation on the fourth of the
scale was flat, thus dragging down the third when reached.
The intonation of the octave was clear and correct.
densmore]
CHIPPEWA MUSIC
201
No. 189. Song of Thanks for a Gift (Catalogue no. 168)
Sung by Wabezic'
Voice & — 72
Drum ^ — 72
± £■ £ t- •£ *
§3
ill
BE
£3
S
Tci'wawiceVdum I am very grateful
En'dodawid' For what he is doing for me
Analysis. — These words were not sung but were spoken between
the repetitions of the song. The drum was struck only once in a
measure and always followed the voice.
The long notes were sometimes held an extra count. This is
unusual, as the long notes are usually found more uniform than the
short notes in the repetitions.
The record is not entirely clear, but it is evident that the first part
is major and the last part minor in tonality. The B flat is always
taken firmly and accurately, the first E flat being slightly too high
and the second one on true pitch. It is interesting to note that the
change from major to minor is made on B flat instead of E flat.
No. 190. Song of Thanks for a Gift
Sung by Wabezic'
Voice J^ — 160
Drum J . — 80
( Drum-rhythm similar to No. Ill )
-»- -0- -•- -*-• -•-
(Catalogue no. 16
t=
i>4-
t
^=t=F
-#— #
li=S^I
FiS
m
g^^fe-^^gE^fl
202
BUREAU OF AMERICAN ETHNOLOGY
[bull. 45
Analysis. — This song was sung four times, the rhythm being exact
in the repetitions. The pulse of the voice is J" = 160 and is steadily
maintained in both double and triple measures, while the drum as
steadily beats a triple time at J. (dotted quarter note) =80, giving
an accented beat on the first and an unaccented beat on the third
count of a triplet of eighth notes, regardless of the voice. The song
has no words and is similar to no. 189.
No. 191. Song of Thanks for a Pony (Catalogue no. 136)
Sung by Gi'wita'bines
Voice J— 76
Drum J = 96
(Drum-rhythm similar to No. Ill)
Analysis.— This song has an interesting rhythm, suggesting, though
somewhat remotely, the galloping of an Indian pony. It is of minor
tonality though lively in general character, showing that the rhythm
of a song marks its character more strongly than does the tonality.
The tones of the minor triad in ascending progression constitute an
unusual opening for a song.
No. 192. Friendly Song (a)
Sung by Wabezic'
(Catalogue no. 1 60)
Voice J = 80
Drum J - 80
Z_4^ -B^JEiB£JT-Eff=tt
• 3 •-#-#•
l^i— pS
This is one of four "friendly songs," the others being nos. 193,
194, and 195. The singer said that they were used in the old times
among the Pembina Chippewa, when a company of people went to
a dance, to show that they came as friends. The singer had him-
self sung these songs in the old days. He said that some of the
visiting Indians smoked their pipes and that back of them stood the
men who sang these songs to assure the people to whom they had
come that they were friendly. There were no words, but he said
the people would know the song was meant to be friendly by the
way in which it was sung; he said also that there was a "friendly
CHIPPEWA MUSIC
203
way to beat the drum." It was stated further by the singer that
this song was pure Chippewa and that no Sioux songs were used
by the Pembina band.
Analysis. — Too much importance must not be attached to the
fact that this song begins in the minor and merges into the major,
for, although given accurately in the first rendition from which this
is transcribed, the intonation is faulty in the other renditions. The
rhythm in the last eight measures is always accurately repeated.
The drum is in even beats of the same pulse as the melody but always
struck slightly after the tone is sung. The chief interest of the song
lies in the occasion of its use and in the accurate repetition of a
peculiar rhythm in connection with a much less accurate repetition
of the melody.
No. 193. Friendly Song (b) (Catalogue no. L62)
Sung by Wabezic'
Voice
t£
fetFt
*-*-•-
ggf^^^gjggB^
* P— rm
4=3
ffi
I-we-di ei - clg' - on
ni-we-ca - we-ni - in
go
-?-*?_
— fit (2-
J I 3=
3=^=
PBlg^gEgEg|
WORDS
Iwe/di Over there
GicigoiV In the sky
Ni'cawe'nimigo' They have taken pity on me
This song is a inarch and is sung while the visiting Indians walk
around the drum. It is used directly after song no. 192. The drum
is in single beats to mark the time as the men march and has the
same metric unit as the voice.
Analysis. — This song has a wild freedom about it and is very
interesting. It was sung four times, the rhythm being repeated
exactly but the melody varying slightly. The intonation is good and
the song aggressively major in character. The descent of the minor
third is conspicuous throughout this melody and there is no interval
in the melody which is larger than a major third. It is also worthy
of note that the second of the scale is treated as a passing tone,
except in the third measure from the last, where it receives an accent.
204
BUREAU OF AMERICAN ETHNOLOGY [bull. 45
No. 194. Friendly Song (c) (Catalogue no. 163)
Sung by Wabezic'
Voice J— 116
Drum J= 116
(Druin-rhytlim similar to No. Ill)
mmm^
^s—*^—*-? r r # _*.
Jt=W
mm
p-?~i-t
&B=n^-£
ts-
Ci - cig ni - ml-no-ta- gwttn
m
•— ?-•
^lg^^Sg=
=^=s=t^f
zt=t
!l
Gi'cig The sky
Niminota'gwun Loves to hear me
This song follows no. 194, the visiting Indians beginning to dance
as they sing this.
Analysis. — Emphatically major in tonality, this song is character-
ized by the frequent descent of the minor third. There is no descend-
ing interval larger than the major third. Like the two preceding
examples, this melody contains an indefinable element of freedom.
The quadruple time is unusual, and the 5-4 rhythm unmistakable.
No. 195. Friendly Song (d) (Catalogue no. 164)
Sung by Wabezic'
This is the same kind of song as the preceding, and as the Indians
would dance while singing it, the record was made with the same
vibration of voice, adding to the difficulty of transcription.
The intonation in this song is uncertain, yet the prevailing descent
of the minor third is unmistakable and the song contains no descend-
ing intervals larger than the major third. There are three complete
records of the song and in each there is a feeling toward a major
tonality in the first half and a minor in the last half, but the voice
is too unsteady to permit analysis of this.
In one of the records there are two counts in the third measure
followed by three in the fourth. This change is immaterial except as
CHIPPEWA MUSIC
205
it shows that the singer felt it necessary to put five counts into these
two measures. Throughout this song the drum is very perceptibly
behind the voice.
This song is of value chiefly because of the frequent descent of
the minor third and of the clearness with which the drum follows the
voice.
Voice J— 120
Drum J — 120
f-'-m-^ «- -js--
sin
g
l^s|gS|
m&^
d=2:p
s=
ipiqEp:
1
*-M* -# — £=p=*
a=
i=
Siffi
=^=pt
#-. 4fc J* -*- -^_
3»
;^-<9—
m^±^±iL
3=f
P^=P=P=
&W. J J -j-
riife
£=tt
p=p^=n=PEZ=p=p:
S
=P=P=
■/
£=±W:
P— •-
#^=
No. 196. Song Referring to a Vision (Catalogue no. 138)
Sung by Gi/wita/bines
Voice J =116
Drum
116
(Drum-rhythm similar to No. Ill)
site T T tj-ftf IS r~CJ:^-JH^T
rl
h^—tt-4 — — 1-4 — — ' =^ — L— -1 — 1 1 i
F^iSiife-^-r-f-p-i-* — • — i^-rf-F-HhF^ — i-H n
r^^f-Uj-a-^ff — 1 — i j"^ Ijll3- " '-^
— H
WORDS
Wa/wia/weye/gancut/ Round-hoofed
Gicawe'nimik' Had pity on me
Analysis. — The singer said that he learned this song from a Mille
Lac Chippewa many years ago. The record was played for an Indian
at White Earth, and he recognized the song at once. The words refer
to a vision of a round-hoofed animal which probably appeared to the
206
BUREAU OF AMERICAN ETHNOLOGY
singer in a dream. The words are crowded into the first two measures
of the music. They can be recognized, but contain many interpolated
syllables, and are too indistinct for transcription.
No. 197. SONG OF We'nabo'jo (Catalogue no. 272)
Sung by Ga'tcitcigi'cig
Voice JS
Drum J\
208
: 116
(Drum-rhythm similar to No. Ill)
Si
A ^
HP
Ge" - go - a - In -
#— *— *— («-
a - bi - ke-gwun
- go - ma -mic - kfic
#$=&=£
£=£
gi-cig-wen a yu we he he yu we he he yu we he he
WORDS
Ke'goinabikegwiin' Don't look
Ge'gamamic'kwuc Or your eyes
Gi'cigwen' Will always be red
This song is connected with a favorite folk-story in which We'na-
bo'jo invites the ducks to dance, telling them to keep their eyes shut,
and then wrings their necks one after another. The phonograph
record is supposed to reproduce the event, even the cries of the ducks
being given by the singer. Before beginning the song the singer
said: " I am arranging to have a dance, my little brothers and sisters."
After the first rendition he said, "Dance, dance, dance faster, my
little brothers and sisters, but don't open your eyes." After the sec-
ond he said, "How, how, take warning, my little brothers and sisters."
This is mentioned to show the Indian custom of interspersing the
renditions of the song with short speeches.
Analysis. — This is one of the few songs in 5-4 time. It is
plainly distinguishable from a triple measure followed by a double
measure. The metric unit is unusually rapid. Repetitions of this
song by other singers are found to be identical.
Unclassified Songs — Red Lake Reservation
Melodic Analysis
TONALITY
Catalogue numbers.
Major tonality
Minor tonality
Beginning minor and ending major
Beginning major and ending minor
Total
139, 162, 163, 169
136, 138, 149, 164, 170, 272
CHIPPEWA MUSIC
207
Melodic Analysis — Continued.
TONE MATERIAL
Fourth five-toned scale
Minor triad
Octave complete except sixth . . .
Octave complete except seventh .
Octave complete except sixth. . .
Other combinations of tones
Number of
songs.
Catalogue numbers.
3
139, 162, 169
1
272
2
138, 164
1
163
1
164
4
136. 143, 160, 168
Total.
l-.KClNNINdS OF SONGS
Beginning on the fifth.. .
Beginning on the third. .
Beginning on the tonic a.
Beginning on the octave.
Beginning on the fourth.
4
138, 149, 162, 163
5
139, 160, 164, 168,
170
1
1
272
169
1
136
ENDINGS OF SONCS
8
3
1
136, 149, 160, 162, 163, 164, 168,
272
138, 139, 169
170
Total
12
FIRST PROGRESSIONS
First progression upward . . .
First progression downward.
136, 138, 169, 170, 272
139, 149, 160, 162, 163, 164,
ACCIDENTALS
Songs containing accidentals . .
Songs containing no accidentals .
Rhythmic Analysis
Beginning on unaccented portion of measure
Beginning on accented portjon of measure
139. 14!), 170
136, 138, 160, 162, 163, 164, 165,
168, 272
Metric unit of voice and drum the same.
Metric unit of voice and drum different .
7 ' 138, 139, 160, 162, 163, 164,
5 136, 149, 169, 170, 272
a This song begins on the tonic, a portion of the melody being above the keynote and a portion below it.
208
BUREAU OF AMERICAN ETHNOLOGY [bull. 4i
Structural Analysis
Number of
songs.
Catalogue numbers.
2
10
162, 272
168, 169, 170
12
No. 198. Dream Song
Duplicate of no. 115 (Catalogue no. 209)
Sung by Ki/ose/wini/ni
(Catalogue no. 108)
Voice ^=108
Drum J = 108
ggg|g^^sig#te#=B
• »,y- r-i
^VBT^ir ry^=D
^ri-n-
+^*—*
+-!—0
sg^EE
*f
^n — • — •— jf
!=£S
A - bl - ta - gi - ci
1
F=F
^
guii ba - de- bwe - we - wi - dun ba - a - da - ya - wi-yan a i
*-*—+*■
■^—^
s—*^-*
B
ya a % ya ya i a yo hi yo hi
PfE
SESE^rrJEE
SB
m^^mm^m
i=F
* — »^M:
=1=5?
* — *
£=«
-#— if-*-
I
This rendition was by a younger singer and is less complete than
no. 115, plainly showing the manner in which a song is slightly
changed. This record was made more than a year previous to the
other, and the duplication was accidental.
CHIPPEWA MUSIC
209
Two renditions of this song were secured from Ki'ose'wini'ni, one
without the drum, and, after a lapse of several months, another with
the drum. The rhythm of the song is identical, but the less impor-
tant melody progressions vary slightly as the singer was inspired to
elaborate somewhat. This transcription is from the first record and
is believed to be more correct than the second.
No. 199. Song of Thanks for a Pony (Catalogue no. 137)
Duplicate of no. 152 (Catalogue no. 92)
Sung by Gi'wita'bines
Voice J— 96
Drum J — 96
^g^gjjgggjjg^
r
II
This duplication was made by a singer on the Red Lake reservation
who was particularly free in his manner of singing. The original was
made at Leech Lake. The song is evidently the same, the principal
differences being due to the personality of the singer.
No. 200. Love Song
Duplicate of no. 138 (Catalogue no. 107)
Sung by Gi/wita/bines
Voice J= 116
Recorded without drum
(Catalogue no. 145)
na - rm - wi
ken
This and the two preceding songs are not included in the analysis of
Red Lake songs, as they have been analyzed in a previous section.
Comparison of the two transcriptions will show the differences to
be very slight, although the records were made on widely separated
reservations.
12692°— Bull. 45—10 14
IKDEX
(For a list of the songs contained in this volume,
XI-XIX.)
Accents— Page
in drum rhythms of dances 6
tones slightly prolonged 57
variations on first words of songs 58
Accidentals—
characteristics of, in Mlde' songs 19
classification explained 10
comparison with diatonic tones 5
in dream songs 137
in love songs-
Red Lake res 185
White Earth res 156
in moccasin-game songs —
Red Lake res 191
White Earth res 100
in unclassified songs-
Red Lake res 207
White Earth res 166
in war songs —
Red Lake res 181
White Earth res 147
in woman's-dance songs 197
rare in Mide' songs 18
tabulated analyses 10, 117
Acknowledgments by author 8,15
A'gwitO'wigi'cIg, songs by, 79, 80, 145
Aki'waizi', songs by 138,158
Ata'diwIn'ina'gCmo'wIn. See Moc c a s i n -
game songs.
Awi'iiinedja', teacher and leader in MTde'-
wTwTn 27
Bear, associated with Mlde' 38
Beaulieu, G. II., acknowledgment to 8
Beaulieu, Rev. C. II., acknowledgment, to. s
Be'cigwiavi'zans—
song-drawings made by 15
songs by 37,39,45,40,47, 83-80
Begging dance, character of 171
Beginnings of songs—
love songs —
Red Lake res 185
White Earth res 150
moccasin-game songs —
Red Lake res 191
White Earth res 100
tabulated analyses 9,110
unclassified songs-
Red Lake res 207
White Earth res 165
war songs-
Red Lake res 181
White Earth res 147
woman's-dance songs ( Red Lake res.) ... 197
Bois Fort res.— Page
as source of songs 1
conditions on . 13
Bones, use of in curing sick 120
Bureau of American Ethnology, deposi-
tory of song records 27
Cagan'asi, songs by 104, 165, 196
Carl, John C, translation by 24
Ce'deens', Chippewa juggler 123
Celebration on Red Lake res. (July 4, 1908),
description of 166-173
Ceremonial songs (Mlde') 62-82
characteristics of certain songs 75
difficulties of translation 62,63
major triad with sixth added 63, 07
partially formed five-toned scale 07, 71
principal interval descending minorthird. 03
Ceremony (Mlde') for dying chief 51-55
Charms (Mlde')—
love-charm songs 88-92
method of working 20-21
song to bring back runaway wife 97
Chippewa—
religion. See Mlde'.
significance of music to 1
See also Mille Lac Chippewa.
Chippewa reservations, description of 1
Cici'gwan—
description 11, 12
use in initiation ceremony 48
CIm au'ganIc, named in war song 145
Classification of material, explanation of. . . 7
Costumes, Fourth of July celebration 108-109
Courting flute. See Flute.
Dahomey songs, reference to 130
Dances—
at end of initiation ceremony 50-51
drum rhythms of 6
during ceremonial song 65
Fourth of July celebration-
begging dances 171
war dances 168-170
woman's dances 171-172
in ceremony for dying chief 54
social-
ceremonies on opening 145-146
drum used in 11
Dance songs of Mide'—
description 19
principal interval of descent 31
reference to 15, 40
211
212
INDEX
De'bwawen'dCnk- Page
acknowledgment to 25
on rendering of Mide' song 13
songs by 55-02
song-drawings made by 15
Deda'bicaC, songs by 113
De'dadj, reference to 79
Diatonic tones. See Tones.
Dja'sakid—
meaning of term 20,119
rattle used by 12
See also Doctor, Juggler.
Djige'weckun, song by 198-199
Doctor, songs of the 119-123
See also Dja'sakid.
Dog— '
eaten in ceremonial feast 37, 40
eaten in ceremony for dying chief 52-53
Drawings for Mide' songs, general descrip-
tion of 15-18
Dream songs—
afterward used as war songs or other-
wise 126-136
associated with certain animals 126
minor triad with minor seventh. . 130, 132
general description 118
song and performance of juggler 123-125
songs of the doctor 119-123
tabulated analyses 8-11, 136-137
Drum—
as an accompaniment of voice 5,6,20,58
description of. 1 1-12, 54
independent of voice 5-6, 15, 20
in dream songs 118
in moccasin-game songs 12, 156-157
in war songs 137, 177
principal rhythms 6
See also MItl'gwakik'.
Ellis, on the five-toned scales 3
Endings of songs—
indefinite in primitive music 59
love songs-
Red Lake res 185
White Earth res 156
moccasin-game songs-
Red Lake res 191
White Earth res 160
tabulated analyses 10, 116
unclassified songs-
Red Lake res 207
White Earth res 166
war songs —
Red Lake res 1S1
White Earth res 147
woman's-dance song ( Red Lake res.) 197
English, Mrs. Mary Warren—
acknowledgment to 8
as interpreter 21
song by 150
Evil charms. See Charms.
Feasts—
at ceremony for dying chief 52, 53, 55
at end of initiation ceremonies 48
at Fourth of July celebration 171
Fillmore, Prof. J. C, cited on tonality in
Dahomey songs 130
First progression. See Progressions. Page
Five-toned scale. See Scale.
Flat Mouth (father), reference to 51
Flat Mouth (son), last hours of 51-55
Flute, description of 11.12
Flying man, story of 95
Funeral ceremony for chief 54-55
Ga'GANDac', songs by 125, 126-133, 139-141, 159
Gage'bInes—
account of 175
songs by 182, 183, 184, 194, 195
Ga'tcitcigi'cIg, songs by. . 142-144, 154-155, 162, 206
Gegwe'djiwe'bInOn', songs by 111,112
Ge'miwunac'—
leader in ceremony 51
songs by 95-96, 114-1 16
Gi'cibans', song by 146
Gifts exchanged at dance 172
Gilfillan, Rev. J. A., acknowledgment to.. 8
Gi'nawtgi'cIg—
account of 175
songs by 177, 178, 188-189, 193 , 195
Gi'wita'bines—
account of 173-174
songs by 176,
177, 178, 179, 186, 187, 188, 189, 190,
192, 193, 194, 198, 202, 205, 209
Grand Medicine. See Mide'.
Grand Medicine Society. See Mlde'wlwln.
Grave of chief, description of 55
Hand, Dr. Ferdinand, on singing fourth
and seventh of scale 4
Harmonic, explanation of term 8, 11
Healing songs, rhythm of 18
Helmholtz—
on scale terminology 7
reference to 3
Hunting at night, use of light in 86
Indian music, general character of 3
Initiation into Mlde'wlwln—
first degree
combination of song and ejaculation.
concluding rites
council of initiators
decorations of medicine pole
details of " shooting " candidate
differences for several degrees
feasts
instruction of candidate
preliminaries
preparations for
procedure in sweat lodge
songs used while "shooting" candi-
date
source of information
transition lrom ceremonial speech to
song, etc
sixth degree, songs for
to cure illness
Interpreters, acknowledgment to
Intervals—
major third, largest interval in certain
song
minor third —
descending, frequent in Chippewa
songs
24-51
45-46
46-48
29
36
43-44
25
33,48
32,67
32.33
25-26
19
24
43
55-82
INDEX
213
Intervals— Continued. Page
minor third— continued.
in ceremonial songs 63
in war songs 141
largest interval in certain songs. 85,141,178
most frequent interval of progression
in certain song 30
principal interval of descent in certain
second, in war song ±o»
simple in MIde' songs 18
standard of measurement 4
whole tone between seventh and eighth. . 1G4
Intonation—
general discussion 4-5
variations in MIde' songs 19,20
Invitations—
to ceremony for dying chief 52
to initiation ceremony 37
Jiwa'bikito', acknowledgment to 25
Juggler—
performance described 123-125
song of the 125-126
See also Dja'sakid.
Key. See Tonality.
Keynote, relation of tones to 7
Ki'ose'wini'm, songs by 153, 162, 208
Ki'tcimak'wa, songs by 49,50,81,87,152,161
Krehbiel, H. E., cited as to tonality in
American negro songs 130
Leech Lake res.—
conditions on - 1
scene of ceremony for dying chief 51
social songs on 118-166
songs (180) of, tabulated analysis 8-11
Light for hunting at night 86
Locatk in of Chippewa 1
Lodges for use in MIde'—
arrangement in ceremony for dying
chief 52
arrangement in initiation ceremony 39
const ruction 36
Set also Mlde'wlgan.
Loon clan or totem , reference to 142
Love charms. See Charms.
Love-charm songs 88-92
Love songs—
Red Lake res 182-186
tabulated analysis of 180 songs 8-11
White Earth res , 148-156
Main 'ans (elder)—
diagram of path of life drawn by 24
initiation ceremony described by 25
on leader of initiation ceremony 37-38
MaiS'ans (younger)—
doctor songs recorded by 119, 121 , 122
initiation ceremony described by 25
narrative of song by 126-127
on origin of his "special medicine" songs. 119
songs by . 30,31,34,35,40-43,81,106-110,138,157
story of 119
Major third. See Intervals.
Major triad in ceremonial songs 63
Manido— Page
forms assumed by 14,62
in origin legend of MIde' 21-24
invocation to 37, 57
of thunder, significance to Indians 129-130
reference 15
song of the 30
Manido'gicIgo'kwe—
songs by 91, 92, 148-149
song-drawings made by 15
Mark, John—
account of 175
song by 195
Measure-beginnings, pulse of 173
Medicinal herbs, songs connected wit h use of 92
Medicine bag. See MIde' bags.
Medicine Pole and stone—
description of 36
disposition of 51
use of pole in ceremony for dying chief. . . 52, 53
Medicines—
songs connected with 15, 20, 21,96, 109
use in MIde' 20-21
Mee, Mrs. Charles—
acknowledgment to 8
songs by 151 , 163
Melodic analysis—
dream songs (White Earth res.) 136-137
love songs —
Red Lake res 185-186
White Earth res 155-156
MIde' songs (90) 115
miscellaneous songs (180) 8-10
moccasin-game songs-
Red Lake res 191
White Earth res 159-161
unclassified songs-
Red Lake res 206-208
White Earth res 165-166
war songs-
Red Lake res 180-181
. White Earth res 146-148
woman's-dance songs (Red Lake res.).. 196-198
Melodic, explanation of term 8,11
Melody of songs, importance of 2-3, 14
Metric unit—
method of indicating 5
seldom similar in drum and voice : . 6
slow in love-charm songs 91
Mide '—
beliefs 13-14,15
ceremony for dying chief 51
description of lodge 22
diagram representing path of life 24
emblem 14
ethics 14,24,32
initiation ceremony of first degree 24-51
mediums of exerting power 20
mnemonic system 15-17, 18
origin 21-24
purpose 59, 60
rattles used in 12
ritual exactness not essential 13
symbolism 16, 81
treatment of sick 12, 51-55, 92, 119-120
use of "medicine" 20-21
use of vermilion paint 113
214
MIde' bags— Page
contents 51
description 85
use in "shooting" ceremony 43-44,53
MIde' drum, in ceremony for dying chief 54
MIde' lodge. See MIde'wIgan.
MIde' shells. See MI'gls.
MIde' songs—
affirmation characteristic of 87
drawings 15-18
ejacula;ions interpolated 41
general description 14-20
healing song, peculiar features of 95
none from Red Lake res 1
origin 70
ownership 2fi
register of women's voices 89, 94
smallest range in song 109
song sung during preparation of " medi-
cines" 109
tabulated analyses 8-11,115-118
to a rattlesnake 85
tones discussed 57, 75
translation of words 8,15
used in sixth degree initiation 58-59
MIde'wigan—
arrangement for initiation ceremony 38-39
building of 36
explanation of term 30
MIde'wIkwe', meaning of term 13
MIde'wIni'ni—
meaning of term 13, 98
use of charms by 21.
MIde'wIwIn, description of 13
Miga'diwIn'ina'gumo'wIn. See War songs.
Mi'gIs—
emblem of MIde' 14
" medicinal " use 53, 74-75, 80.92
" miracle" of 79-80
use in initiation ceremony 39, 48
Mi'jakiya'cIg, songs by 92-93
Mille Lac Chippewa—
on initiation into MIde'wIwIn 24
song from 205
Minor third. See Intervals.
Minor triad with minor seventh. . 130, 132, 142, 188
MItI'gwakIk'—
description 11-12
use in MIde' initiation ceremony 26
See also Drum.
Mnemonics—
MIde' songs recorded in 15
other uses of system 16-17
Moccasin game—
description 157
drum used in 6, 12
Moccasin-game songs—
Red Lake res 186-191
tabulated analysis 8-11
White Earth res 156-101
Moulton, Charles, story of MIde' shells by. 79
Musical instruments, description of 11-12
Nae'tawab', account of 168, 170, 171, 172
Na'jobi'tun, ceremonial songs by 62-78
Na'joi'se, oc'kabe'wls or herald 51
Narratives of songs— Page
child's song of owl 135
concerning fire 103
dream (war) song 126-127, 133
scalp dance 99
song of crab medicine-bag 102
song of deserted warrior 134-135
song of good medicine 101
song of historical incident 198
the Hying feather 97-98
two hunting-medicine songs. 104-106
Nass River Indians, reference to 130
Na'waji'bigo'kwe—
acknowledgment to j.„ 25
drawings of songs made by 15, 68
narrative by 21
songs by 88-92
translator of song 71
Negro m usic, reference to 130
Ne'mIta'maun', functions of 29.43,48
Nigan'Ibines', last hours of 51-55
Ni'miwug'. See Dancing songs.
Niogi'cIg, reference to 95
Nita'miga'bo, song by 158
No'dinCk'wum, account of 135
Notation, musical, limitations of present
system 3
Oc'kabe'wis—
functions 25, 33, 36, 37, 39, 42, 48
in ceremony for dying chief 51
O'deni'gOn—
doctors rattle procured from 119
drawings of song made by 15
narrative by 27
songs by 27, 32, 94, 96-106
Pembina Chippewa, song used by 202
Pentatonic scales, terms used for 7
Pequette, Rev. Frank H., songs translated
by 55
Phonograph, songs recorded by 3-4, 5, 27
Pillager band of Chippewa, reference to . . 51
"Pillager outbreak," reference to 1-2
Pitch, approach to accuracy in 4
Prentiss, William—
account of 175
songs by 189, 199
Progressions, first—
downward and upward 10
dream songs 136
love songs-
Red Lake res. 185
White Earth res 156
moccasin-game songs —
Red Lake res 191
White Earth res 160
unclassified songs-
Red Lake res '. 207
White Earth res 166
war songs-
Red Lake res 181
White Earth res 147
woinan's-dance songs (Red Lake res) 197
Property rights in songs 2
Punishment of offenders in MIde' 14
215
Range of singers' voices. See Voice. Page
Range , exceptional , of songs analyzed 94 , 109
Rattles—
description 11,12
used by doctor 119
used in ceremony for dying chief 52
Rattlesnake, song to a 85
Recording songs, methods of 3^1, 15
Red Lake res.—
not a source of MIde' songs 1
peculiarities in songs from 123, 176, 189
singers 173-17(1
social songs on 1GG-208
tabulated analysis of ISO songs 8-11
Registers of songs by female tenors. See
Voice.
Religion. See MIde'.
Rests, unusual in hunting songs S6
Rhythm—
correspondence with idea of song 131
general discussion of 5-0
in magic songs 18
in MIde' songs, characteristics of 18-19
of dream song. 127
of healing song 95
of war songs - 127, 139
peculiarity in Red Lake war song 178
principal rhythm of songs unvarying ... 3
suggestive of Scotch and negro music 176
Rhythmic analysis—
dream songs (White Earth res.) 137
love songs-
Red Lake res 186
White Earth res 156
MIde' songs (90) 117 |
miscellaneous songs ( 180)
moccasin-game songs —
Red Lake res
White Earth res
unclassified songs-
Red Lake res
White Earth res
war songs-
Red Lake res
White Earth res
woman's-dance songs (Red Lake res.) .
Sa'GU'diwin'ina'gumo'wIn. See Love songs.
Scale, five-toned—
explanation of term 7
in ceremonial songs 63, 67, 71
limitations as notation system 3
Scotch music, reference to 176
Secondary accent, rare occurrence of 5
Selkirk, Henry, songs by 133-135,154
Shells. See Mi'gis.
"Shooting" of candidate for initiation. .. 29,43-44
Signs, special, used in songs, explanation
of xix, 5-6
Singers, Indian—
mannerisms 199
of Red Lake res 173-176
Sioux, war songs learned from 139,142
Smith, Rev. George, account of 130
Social dance, ceremonies on opening 145-146
Social songs. See Songs.
Song and ejaculation, combination of 45
Songs— Page
common form of Chippewa songs 151
general description —
intonation 4-5
introduction 1-4
rhythm 5-6
structure 8
tone material 7-8
important events celebrated by 1
list of—
by catalogue numbers xv-xix
by serial numbers xi-xv
manner of closing 59
MIde' songs —
additional songs 106-115
ceremonial songs 62-78
connected with cure of sick 73,92-96 '
connected with rare medicines... 18,96-106
for initiation into sixth degree 55-62
general characteristics 14-20
in ceremony for dying chief 53
love-charm songs 88-92
tabulated analyses 8-11,115-118
to insure success 82-88
translation 8
social songs —
dream songs 118-137
Fourth of July celebration 166-173
love songs 148-156, 182-186
moccasin-game songs 156-161 , 186-191
singers 173-176, 199
unclassified songs 161-166, 198-208
war songs 137-148,176-181
woman's-dance songs 192-198
See also the various groups of songs, as
Ceremonial songs, Dream songs, Love
songs, MIde' songs, etc.
"Spirit power," explanation of term 15
Sweat lodge, structure and use of 25-26
Syncopations rare in Chippewa songs 57
Tonality—
dream songs (White Earth res.) 136
general discussion 7-8
love songs —
Red Lake res 1S5
White Earth res 155
major key for plaintive melody 183
MIde songs (90) 115
moccasin-game songs —
Red Lake res 191
White Earth res 159
tabulated analysis (180 songs) 8
unclassified songs-
Red Lake res 206
White Earth res 165
war songs-
Red Lake res 180
White Earth res 146
woman's-dance songs (Red Lake res.) ... 196
Tone material—
accented tones in MIde' songs 57
certain MIde' songs, discussion of 75
diatonic tones compared with accidentals. 5
dream songs (White Earth res.) 136
general discussion 7-8
216
Tone material— Continued. Page
love songs-
Red Lake res 185
White Earth res 155
moccasin-game songs-
Red Lake res 191
White Earth res 160
relation to keynote or tonic obscure 7
tabulated analysis (180 songs) 9
unclassified songs —
Red Lake res 207
White Earth res 165
war songs-
Red Lake res 181
White Earth res 147
woman's-dance songs (Red Lake res.) - - - 197
Tones. See Tone material.
Treatment of sick in Mlde' 12,51-55,119-120
Unclassified songs—
Red Lake res 198-209
tabulated analysis 8-11
White Earth res 161-166
Vermilion paint used in Mlde' 113
Vibrato in Chippewa singing 4, 106
Voice—
in Mlde' songs, an independent metric
unit 5-6,15,20
range-
female 89,94,146
male . 174
Wabezic'—
singer of Red Lake 174-175
songs by... 179,180,182,188,200,201,202,203,204
War dance—
celebration (July, 1908) 168-170
one of principal drum-rhythms 0
War drums, description of 11
War party, ceremonies on return of 143-145
Warren, William—
anecdote of 142
Warren, William— Continued. Page
on Loon clan or totem 150
reference to 21
War songs—
Red Lake res 176-181
tabulated analysis 8-11
White Earth res 137-148
classification 137
intervals 140, 141
learned from Sioux 139, 142
minor triad with minor seventh 142
object of certain song 139-
principal melodic feeling for second . . 138
Wa'wiekum'ig—
acknowledgment to 25
reference to ... 36
We'daked'—
explanation of term 29
functions 43, 47
We 'nabo 'jo, character in Chippewa folklore . 92, 206
White Earth res.—
conditions on 1
peculiarity of songs from 123
social songs on 118-166
tabulated analyses of songs (180) from ... 8-11
Wilkinson, Major, U. S. A., reference to.. 1-2
Woman's dance—
description 172, 192
one of principal drum rhythms 6
Woman's-dance songs—
Red Lake res 192-198
rhythmic peculiarity 196
tabulated analysis 8-11
Women as assistants at initiations 26-
Words of songs—
in love songs 148
in Mide' songs 14-15,58
translation 8, 33
variations 2, 14, 33
Za'gimag', functions of 37, 40, 41, 4>
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